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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An amp ? What for…

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

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

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

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

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

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

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

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

SLU : Mina opened the way for this ?

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

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

SLU : Is the filtering in Leopard done in analog ?

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

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

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

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

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

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

SLU : And ?

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

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

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

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

18 inches and two voice coils

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

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

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

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

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

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

A potentially very loud connected stack…

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

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

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

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

Invasion of the Leopards

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

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

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

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

Yamaha PM10 Rivage

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

The DSP engine

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

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

The In/Out Rack

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

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

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

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

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

Jean-Gabriel Grandouiller

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

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

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

Venue, vidi, vici

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

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

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

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

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

SLU : How big is the largest control surface ?

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

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

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

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

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

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

SLU : The display management is included in the screen ?

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

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

The engine runs great

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

SLU : Tell us about the mix engine

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

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

SLU : Outputs don’t count in the calculation…

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

SLU : And for the outputs ?

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

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

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

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

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

A Plethora of Plug-ins

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

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

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

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

Jean-Gabriel Grandouiller : Yes, absolutely.

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

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

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

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

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

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

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

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

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

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

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

SLU : How is the compatibility with older showfiles ?

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

What language do you speak, my dear ?

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

SLU : Which audio transport protocol does the S6L use ?

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

SLU : How about Dante on the engine ?

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

SLU : How many ?

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

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

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

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

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

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

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

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

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

SLU : : When will it be available ?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is driven by :

• Three Powersoft K6s, (http://www.powersoft-audio.com/en/touring/k-series#K6),
• Two K2s
• And one M30 (http://www.powersoft-audio.com/en/touring/m-series#M30D).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meyer Leopard

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

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

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

Meyer 900 lfc

Pac 900 lfc driver

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

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

Jasper Ravesteijn

Netherland-based Jasper Ravesteijn has been named European sales manager for Adamson Systems Engineering.
He will work with Jochen Sommer, director of European operations for Adamson, to manage sales and support for new and existing customers in Europe, Russia and Africa.

With 20 years of experience in professional audio, Ravesteijn brings extensive knowledge of the marketplace to the organization. Prior to joining Adamson, Ravesteijn worked in sales for Audiopro BV where he was responsible for professional audio sales as well as project system design for customers. He is also the owner of Pro AV Educatie, an educational company that organizes seminars and training programs for audio engineers.

We are thrilled to have Jasper join the Adamson team, explains Sommer. He brings tremendous experience in both sales and system design, which will help our continued growth in the region.
We were lucky to find someone who not only has experience with professional audio but also understands how to build relationships in the industry. I am confident he will do an amazing job.

Ravesteijn has a bachelor degree in electronics as well as education in marketing and sales and knowledge of a wide variety of pro-audio training programs. He is a certified SIM-3 engineer and has experience with Smaart V7. I have been a fan of Adamson loudspeakers for years, adds Ravesteijn. The growth of the product line as well as their new technology is impressive. I am looking forward to adding to their already stellar reputation in Europe.

Teeth for returning the smiles that welcomed us at all stands in Frankfurt, teeth for chewing up the pages of content that we prepare for you daily and, finally, the teeth to nip at human foolishness when it crosses the line. Your industry journal is now a three-year-old toddler, with all its teeth.

It seems that nothing is free in this world – there ain’t no free lunch, as they say – yet Soundlightup doesn’t ask a penny for all the content it gives you every day.

Our little web magazine scampers on free, independent and 100% owned by its editors. There have been no miracles at SLU – nothing but the fruit of our hard work, passion, and the recognition of the sponsors convinced by our business model and by our steadily rising readership,which is certified by the ODJ (the French organization specialized in verifying and certifying the circulation of print and digital media). Just in the first four months of 2015, we have had 67% more visitors than in 2014.

More reactive, inventive and dedicated than ever, we attack our fourth year with the intention of serving you even better and of shining a thousand lights on our industry and our technicians, to the edges of Europe and beyond.
Wherever there is sound to create emotion or where lights and video become one, we will be there to report it. On Soundlightup you will find news, exclusives, the best product tests, event coverage, job offers and secondhand gear at the click of a mouse, whenever you want and wherever you happen to be.
We would tell you all that we are preparing for you – new sections, new services, new contributors – but it would take too long, so the easiest way is to surprise you.

So, in the immortal words of Jacques Higelin… “Champagne!!”

MUSIC Group has today announced the acquisition of TC Group, one of the largest group of companies in the professional audio industry.
Headquartered in Denmark, and with offices all over the world, TC Group owns and manages some of the most acclaimed brands such as Tannoy, Lab Gruppen, Lake, TC Electronic, TC Helicon and TC Applied Technologies. The deal has been signed and it is expected to close within days.

The addition of Tannoy, Lab Gruppen and Lake allows MUSIC Group to round out their professional install and touring sound offerings alongside Midas, Klark Teknik and Turbosound, while TC Electronic and TC Helicon represent the industry’s leading brands in the guitar effects and voice processing sector, and perfectly complement MUSIC Group’s Bugera guitar tube amplifier brand and highly successful Behringer prosumer division.
TC Electronic has also long been established as a leader in broadcast, studio, mastering and production processing, where it gained ultimate authority in loudness control and mastering. For decades now, Tannoy’s HiFi products continue to win “Best in Class” Awards, and as a result the brand has developed a huge following of audio enthusiasts around the world. 

Uli Behringer MUSIC Group founder and CEO

TC Group’s strong focus on product innovation and IP creation is further demonstrated by their TC Applied Technologies company, which is invested in cutting-edge semiconductor designs, networking and interface technology. MUSIC Group founder and CEO Uli Behringer commented, “MUSIC Group stands for relentless focus on innovation, business transformation and overall IP creation.

Since the acquisition of Midas, Klark Teknik and Turbosound, we have been continuously pursuing brands that complement the mixing console, processing and loudspeaker excellence offered by these historic brands. Throughout our search, TC Group has clearly stood out as the ideal match because of their world-class brands, impressive intellectual property, sterling reputation and first-class team of people. I am very proud to welcome the TC Group team into our family.”

Tannoy, Lab Gruppen and Lake will now join MUSIC Group’s prestigious Midas, Klark Teknik and Turbosound anchor brands to further strengthen MUSIC Group’s continued expansion into the professional A/V market. Aimed at delivering complete system solutions to Install and Touring customers, the combination of these brands represents an unprecedented range of choice for the most demanding of applications.

Uli Behringer continued, “We will invest heavily in positioning TC Group’s brands at the very pinnacle of the industry, as we have done with Midas, Klark Teknik and Turbosound, where we have invested over $100 million in highly automated and integrated manufacturing facilities, quality control systems and engineering resources, including a new Center of Engineering Excellence in Manchester, UK.
TC Group will now equally have full access to MUSIC Group’s extensive resources and advanced automated system platforms in such areas as product development and lifecycle management, engineering, manufacturing, supply chain and finance.”

TC Group’s CEO Anders Fauerskov responded, “We are very honored that during the acquisition process, some of the largest industry players were bidding for TC Group; however we have selected MUSIC Group as they represent the perfect fit in terms of strategic direction, overall synergies and company culture. Our team is thrilled to join MUSIC Group and open a new chapter for TC Group and its prestigious brands. With the incredibly talented people and massive resources of the MUSIC Group behind us, the team is excited to enter a new era of unprecedented innovation and growth.”

The new L-Acoustics assembly Workshop located in Marcoussis

L-Acoustics announces the opening of three new facilities dedicated to production, logistics and carpentry in order to respond to market demand. The new facilities will enable L-Acoustics to increase production significantly by the end of 2015.

A wide shot of the new assembly workshop Marcoussis.

K2 being assembled in the new workshop of 3000 m².

In the brand new assembly site, the newest amplified controllers L-Acoustics LA4X.

The new warehouse was joined by the March inauguration of a new production facility.  Located in Marcoussis, next to the company’s business headquarters, the brand new assembly site boasts 3,000m², fully dedicated to the manufacture of the world-renowned L-Acoustics sound systems and doubles the current production size. The company’s 4,000m² headquarters, which previously contained both production and business teams will now be fully dedicated to business operations and research and development.

L-Acoustics’ carpentry subsidiary, located in the Strasbourg region of France will also double in size with the opening of a new 5,000m² purpose-built carpentry and paint factory, which is currently under construction and will open in the last quarter of 2015.

A view of what will be the new 5000 sqm factory in Keskastel on a ground of almost 2 acres

“With the rapid worldwide adoption of reference products like K2, L-Acoustics has been blessed with phenomenal growth,” explains Stéphane Ecalle, director of marketing at L-Acoustics. “The expansion of our logistics and production facilities will allow us to grow in lockstep with the increasing demand.” 

About L-Acoustics
Founded in 1984 near Paris, France, L-Acoustics is a leading manufacturer of turnkey solutions for the professional sound industry. With 250 team members, 20 percent of whom are dedicated to R&D, L-Acoustics is present in over 75 countries either through subsidiaries or via a network of certified distributors or providers.
Recognized throughout the industry for pioneering the modern line array, L-Acoustics offers a total system approach for both the touring and fixed installation markets, and a product line responding to the needs of venues from the most intimate club to the grandest arena. L-Acoustics sound systems can be heard in places like the Hollywood Bowl, the NBA Houston Rockets Toyota Center, or the Philharmonie de Paris. L-Acoustics solutions have been used at five of the world’s ten top-grossing festivals*, the London and Sochi Olympics, and on the Justin Timberlake 20/20 Experience World Tour, among others.

Today, at the opening of the Prolight + Sound conference, L-Acoustics announced the launch of the X Series, a new line of coaxial speakers for the installation and rental markets.

As white as the website, L-Acoustic’s booth at P+S 2015 is entirely dedicated to the X series.

The three new enclosures in the X Series family represent the most recent engineering innovations at L-Acoustics and directly benefit from the research and development breakthroughs that led to the launch of K2 last year.

The 4X loudspeakers. From left to right the 5XT, X8, X12 and the X15 HiQ wedge.

Stéphane Ecalle shot among his new speakers in the huge L-Acoustics booth.

The new X Series responds to the demands of the industry’s top sound designers. Improvements include high-excursion neodymium drivers, ellipsoid directivity, laminar vented ports and up to 30% weight reduction.

Used as a stage monitor, the X Series offers low latency monitor presets and a 7% lower profile.  In installation applications the X Series comes with a complete range of flexible rigging accessories and a RAL custom color program.

With improved radiation control and low frequency performance, the X Series is a true point-source system, boasting pristine sound for short throw applications. “The challenge in creating the X Series was to bring all of the experience we gained in designing the K2 to bear on a new series of reference coaxials,” explains Christophe Combet, head of acoustic and instrumentation at L-Acoustics.

The combination of bentwood reduces the enclosure weight while maintaining structure stiffness for the best sonic performance.

The laminar vented ports as already used on the SB28, K1 and K2 reduce turbulence and port noise at high SPL

We optimized the design, ergonomics, acoustical performance and weight. We used new carpentry techniques to optimize internal volumes, maximize bass and eliminate vibrations, designing a new, aerodynamic form with a slender, low profile that gives a profound feeling of power.”

The remarkable dispersion angle diagram horizontal and vertical position. Very microphone friendly!!

A representation of the ellipsoid directivity offered by the X12 and voluntarily extended to 90 ° in a horizontal plane against 60 vertically. This allows it to fulfill the role of small enclosure front or back.

Live Monitor
The X8 is the live monitor of the X series. X8 delivers pristine sound with the L-Acoustics signature, a high SPL and extended bandwidth for operation at FOH position or in control rooms.
Its wide conical directivity pattern imparts a sense of spatialization, with no minimum listening distance.

Multi-purpose
The X12 can cover multiple applications in rental and installation. An ellipsoid directivity of 90° x 60° makes it adaptable to FOH application.

The X12 comes with a complete range of rigging accessories and RAL color program for maximum application versatility and seamless integration.
Low weight and optimized ergonomics for easy handling and a passive design for effective amplified controller management.

Reference Stage Monitor
The X15 is the powerhouse of the series, with exceptional power in beamwidth and acoustic isolation.
Its narrow, 40° x 60° directivity gives it immunity to feedback, making it perfect for the stage.

Low in profile, light in weight, rugged in build, the X15 boasts integrated risers allowing it to go from 35° to 55° for maximum versatility.

“The X Series is the result of an intense R&D process, fully based on feedback from the professionals of the industry and from our own field experience,” continues Combet. “We look forward to working with our installation and rental partners worldwide on the launch later this year.
X Series come as an addition to the ultra-compact fill 5XT launched in 2013. X series will ship in Q4 2015.

Specifications X8

Specifications X12

Specifications X15

Solid State Logic is proud to announce the release of a significant power increase and new V3 software that introduces over 40 new software and hardware features and updates for its SSL Live console range. The new release takes SSL Live consoles to an unrivalled balance of power, features and price.

The L500 becomes the L500 Plus to mark the significance of this new release in the ongoing evolution of the acclaimed console. The power of the L500 rises from 192 mix paths to 256 with a doubling of Effects processing power (depending on the effects selected). The L300 also enjoys a power increase from 128 to 192 mix paths. 

The Version 3 software release provides an extensive and impressive collection of feature additions to SSL Live consoles, including a superb new Super-Q feature, an optional Dante interface card, Remote Control software, Console Expander Mode, User Interface changes, new Effects, enhancements to the Solo system and a collection of features designed for customers who broadcast their productions.
SSL Live V3 is due for public release in May 2015 and will become standard on all new consoles. Upgrades will be available to bring existing consoles to V3 specification. 

New feature highlights

Super-Q
Super-Q is the next generation of Live’s Query function, offering unprecedented workflow flexibility from the touch of a single button. Just like the original Query function, Super-Q allows the user to ‘spill out’ the contributing elements or destinations for a selected fader/path across the control surface. Pressing a channel’s ‘Q’ button shows the mix busses to which the channel is routed. Querying a mix bus will show only the channels that are contributing to that mix. Pressing a VCA’s Q button will show all channels under its Control.
Super-Q also shows the send levels to and from mixes, allowing instant and accurate mix control, either from a channel- or mix-centric view. These contributions can be displayed either on the rotary encoders at the top of each fader strip or automatically ‘flipped’ onto the faders. This can work in either direction; Query an input channel to gain access to its send levels to all mixes, or Query a mix bus to access the send levels from each channel contributing to it. Super-Q has two modes; ‘Compressed’ mode shows a focussed view of only the audio paths contributing to or from the Queried path. ‘Expanded’ mode offers user-defined layers and banks, allowing the user to lay out exactly where they want each channel to appear on the surface.

The modes are configurable on a per-path type basis, giving the user complete control of their workflow. These new features operate in conjunction with the console’s Follow modes that allow any combination of Select, Solo and Query buttons to be linked. This allows, for example, an Aux to be selected to the main screen, Soloed for monitoring and Queried to access its mix sends on faders for only the channels contributing to it, all from the press of a single button. This hugely flexible feature makes SSL Live consoles especially well-suited to monitor mixing.

Remote Control Software
SSL’s SOLSA (SSL Offline Setup Application) software allows creation and editing of Live console Showfiles on your laptop, desktop or tablet PC. Almost anything that can be done on a console can be manipulated and configured using SOLSA. This includes console architecture configuration and setup of Fader Tile Layers and Banks. Stageboxes and I/O routing can also be assigned along with the creation of scenes and other automation editing.
SOLSA also allows you to add effects, manipulate channel processing settings, bus routing and VCA assignments. SOLSA includes the same inline Help System as the Live console software, offering a built in user guide with tutorials and reference sections. The SOLSA PC application can be connected to a console using a wired or wireless connection* for real time control of the console from a laptop or tablet PC. SOLSA can also be used ‘offline’ when access to a console is not possible for preparation of show files. *Wireless access point required.

Dante Interface Option
A new Dante card option offers up to 32×32 channels of I/O at 96 kHz over a redundant Dante connection. The card can be set to operate at 48kHz or 96kHz independently of the rest of the console. The card expands the maximum inputs and outputs for SSL Live consoles from 568 to 600 for an L300 and from 976 to 1008 for an L500 Plus. 

Alex Maggi sur SSL Live 500 aux retours des Victoires de la Musique

Broadcast Friendly Features
Many install customers, particularly Houses Of Worship, require a live production console that can integrate with existing Broadcast infrastructure and/or offer features that are suited to established broadcast audio workflow. SSL has been an industry leading manufacturer of specialist broadcast consoles and that experience has been applied to provide a collection of new features that make SSL Live consoles the perfect choice for these applications. V3 software includes a 48kHz mode to facilitate integration.

New 5.1 and 4.0 audio path formats have been introduced with all of the necessary routing and monitoring required to support them. The Pan system now includes SSL’s Surround Panner and a selection of the Insert Effects now have 4.0 and 5.1 specific versions.  Multichannel Fold-down options have been added with settings available to control the steering logic when routing 5.1 or 4.0 formatted paths onto mono, stereo and LCR buses. Solo Dim mode has been added to the newly enhanced Solo system, which now also includes six external solo sources.

Console Expander Mode
Where two operators wish to control the same audio environment or when more physical faders are required, a second console may be connected to the main console. This expands the control surface available and allows multiple surfaces to share the processing and I/O power of the main console. The active automation scene is automatically synchronised between the two control surfaces for simultaneous but independent control. 

So Much More
The V3 release also contains a significant collection of individual additions and improvements to the consoles User Interface and Processing Tools. Some highlights include; VCA Control of Matrix Channels, new implementations for the User Assignable Buttons, a superb new stereo version of the Fixed Point Per Octave Analyser called the FPPO-lyser which includes a difference mode, allowing the difference between two signals to be monitored and two sets of crosshairs to track the maximum level/frequency and the level of a specific frequency. BPM & Note based editing has been added to Delay Modules… and stereo channels now have a Balance and Mono Sum Controls.

Adamson S10-S119

Adamson Systems Engineering will introduce the S-Series at Prolight + Sound from April 15-18 in Frankfurt. The new sub-compact line array system consists of the S10 line array enclosure, S119 subwoofer, Blueprint AV™ and the E-rack; Adamson’s new unified rack solution. 
The S10 is a 2-way, full range, sub-compact line array enclosure ideal for mid-size arenas, theaters, churches and dance clubs, as well as outdoor festivals.

It is loaded with two newly designed 10” ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5” exit high frequency compression driver mounted to a wave shaping sound chamber which produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The compact solution – 265/10.4 x 737/29 x 526/207 (mm/in) – weighs in at a mere 27/60 (kg/lbs).

Due to extensive boundary element testing, the chamber exhibits increased vertical response with minimal sacrifice of high frequency energy in the far field. The S10 offers tremendous output (max peak SPL 141.3 dB) for such a compact enclosure.

Adamson S10

The overall sonic characteristic of the S10 enclosure is amazingly clean due to Adamson’s patent-pending Controlled Summation TechnologyTM– a design method that brings the LF drivers as close together as possible, while symmetrically outwardly splaying them. The end result increases usable frequency range while decreasing summation at the crossover point, reducing interference. The LF drivers are also recessed behind the exit of the HF sound chamber, so as to not limit the size and shape. A small amount of delay aligns the lows to the high frequency energy, with some dynamic overlap control in place as well to diminish any remaining noticeable interference.

Adamson S119

The companion S119 subwoofer is loaded with a light-weight, long excursion, 19” ND19 Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a 5” voice coil for exceptional power handling. It is mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.

The cabinets for both the S10 and S119 enclosures are constructed out of marine grade birch plywood, aircraft grade steel and aluminum and feature SpeakonTM NL8 connectors.

The S-Series utilizes Adamson’s new SlideLockTM Rigging System which allows angles to be set prior to lifting, which then fall into place when weight is taken. A stacking pin is also present to maintain proper enclosure angles when ground stacked.  The S10 enclosure is also available as the S10i, utilizing a plated rigging system for permanent installation.  The S10i’s slimmed down rigging reduces the weight and cost of the enclosure.

The S-Series is designed to be powered by the E-Rack, Adamson’s unified rack solution that interfaces with and powers the S Series as well as the full range of Adamson loudspeaker products.

The E-Rack incorporates Lab.gruppen amplification, combined with versatile I/O and industry standard power connections, as well as a 20 port managed Ethernet switch to route dual-redundant Dante and control signal.  E-Racks are sold in 8 channel or 12 channel configurations with Lab.gruppen’s PLM 12K44 amplifiers — one 12 channel E-Rack can power up to 24 S10 enclosures. A personal license for Adamson’s Blueprint AVTM software is included with each E-Rack.

S-Series accessories include the S10 Support Frame, S10 Extended Beam, S10 Underhang (to adapt S10 to fly as an underhang with either the E15 or E12), S10 Dolly, S10 4up Cover and Dolly Stacking Legs (also used to increase or decrease tilt in either the E15 or E12 dolly).