Archive for Month: April 2017
ETC’s ColorSource Linear 4 completes the family
ETC’s ColorSource® Linear family is now complete with this week’s launch of the ColorSource Linear 4 fixture. This is the third and longest variation of the ColorSource Linear fixture and measures a full two-metres in length. Like the half-metre and one-metre fixtures, Linear 4 comes in both original and deep blue array options. Both offer a richness of colour, and quality of light output you’ve come to expect from ETC ColorSource fixtures.
Every half-metre of the Linear 4 is individually addressable and controllable from the simple 7 segment display. It’s like having four fixtures in one. Linear fixtures are perfect for use as curtain warmers, sidelights, an unbroken stage wash, and in any installation location that is too narrow for many other standard fixtures.
ColorSource Linear proves that affordable can be rich.
Symetrix DSPs the Key to Altria Theater’s Sound
Built at the southwest corner of Richmond’s Monroe Park in 1927 and originally called The Mosque, the Altria Theater received a $5 million makeover and a new name-The Landmark-in 1994-95. In 2014, the theater was renamed the Altria as part of a far more extensive $50 million renovation that included an impressive new sound system. A breathtaking architectural gem, the Altria Theater is the largest performing arts theater between Atlanta and New York, with a seating capacity of 3,565. The Altria also offers an 18,000-square-foot ballroom that holds 1,100 people and seats 600.
Designed by Jaffe Holden in collaboration with the Richmond branch of global venue managers SMG, and installed by Professional Audio Designs of Wauwatosa, WI, the Altria Theater’s new sound system is based on four Symetrix Edge DSP units, with additional outputs supplied by two Symetrix xOut Dante-enabled analog expanders. “I’ve been using Symetrix products for more than eight years,” begins SMG Systems Engineer Hayden Nebus. “I have 19 Symetrix DSPs right now. They sound phenomenal but the biggest factor for me is reliability.”
Symetrix’ toolkit and value, Nebus asserts, are second to none. “You get a first order and a second order all-pass filter, and the second-order filter has a variable Q,” he details. “I can take a Smaart measurement, pull it into my FIR coefficient calculator, and import my FIR filter straight into the Symetrix DSP. Programming with Symetrix’ Composer software is more straightforward than any other open architecture DSP. And the value can’t be beat: Symetrix Radius and Edge DSPs are great values, and the Prism provides amazing DSP horsepower per dollar.”
Four Symetrix Edge DSPs are the brains of the Altria Theater’s entire system. “They handle the whole thing,” confirms Nebus, “including input matrixing, output matrixing, EQ, delay, FIR filters, and all-pass filters, plus 12-mix stage-monitor processing, distributed lobby and backstage 70v feeds, assistive listening, paging, and chiming.”
The Edge processors control a d&b Audiotechnik sound system with a dozen full-range V-series cabinets and two flown subwoofers per side, plus a center hang of ten V-series cabinets and two subwoofers. The system includes front fills and up fills, and the balconies are handled by a mix of delay speakers, divided into three rings: one for the orchestra level, one for the first balcony area beneath the second balcony, and an over-balcony ring.
A Symetrix ARC system is provided for control. “The ARC system is beautiful,” praises Nebus. “It’s modular and expandable and you can make it do whatever you want. It gives you concise, simple, idiot-proof user controls for house managers and stage managers.”
Nebus is especially enthusiastic about a processing feature he created for the Altair Theater. “My favorite part of that Symetrix rig, other than how gorgeous it sounds, is the ‘virtual babysitter’ I built into the processing. On all main PA outputs, I have threshold detectors and counters. Every time the output reaches -0.5 dBFS, the counter ticks. There’s a control screen with all the PA output meters, and each has a counter box above it that displays the corresponding threshold count. The counters get reset regularly, so I can tell you how many times you’ve clipped the rig, or come within 0.5 dB of clipping, since soundcheck began, and when it last happened.”
With his many years of experience, Nebus has great confidence in Symetrix processors. “With Symetrix DSPs, I know we’re getting the right tools, I know they will perform reliably, and the value can’t be beat,” he states. “Symetrix is the bleeding edge of audio processing.”
This article is originally from www.symetrix.co
Please contact us for information on Symetrix products.
Audio-Technica Microphones Selected for Barbra Streisand’s Live Recording of “The Music, The Mem’ries The Magic” Concert Tour
Audio-Technica, a leading innovator in transducer technology for over 50 years, is proud to be the manufacturer of choice for noted live and studio engineer David Reitzas, as he continues his longtime association with legendary artist Barbra Streisand. Reitzas (whose other credits include such acts as The Weeknd, Josh Groban, Andrea Bocelli, Seal, Stevie Wonder, Guns N’ Roses and many more) has been Streisand’s go-to engineer since 1993, for both studio and live album projects. In the early 90’s, Reitzas was working with producer and songwriter David Foster, when Foster was hired to produce Streisand’s Back to Broadway album, the follow-up to her smash hit The Broadway Album. Since then, Reitzas has been behind the glass for nearly every one of her studio projects and every single live album. Unsurprisingly for an artist of Streisand’s stature, Reitzas is tasked with capturing detailed multi-track recordings of nearly every single performance, and his arsenal of Audio-Technica mics has proven to be a good fit for the enterprise.
“For the first several years I was recording Barbra’s live concerts, I noticed that certain mics they were using on stage were not ideal for the recording mix after the fact. We did what we could, but in my opinion there wasn’t enough rejection between the channels, considering the ensemble of 70-plus musicians and the carefully assembled array of stage monitor wedges. Everything was bleeding through to everything else, and it sounded great in the hall, but the recordings needed a more nuanced approach. Sometime around the mid-2000s we tried out the Audio-Technica AE5400 Cardioid Condenser Handheld Microphone on her lead vocal, and it was a revelation, both in terms of the live sound and the recording. It was great on her voice, and the channel isolation was a mixer’s dream. That mic, or the wireless iteration AEW-T5400a paired with A-T’s 5000 Series wireless, has been the rig of choice ever since, including for the recent tour, The Music, The Mem’ries, The Magic.”
Streisand’s flawless mic technique helps make Reitzas’s job easier. He notes, “She is such a pro at naturally using a microphone. She knows when she belts out to hold the microphone out a bit in the right position, and when she’s singing more intimately she brings it up closer to her mouth. With the AE5400, the proximity effect is just perfect. Her range is incredible, so you need a microphone that can pick up the subtleties of when she’s like singing in a lyrical, personal style, and then her signature high, long notes where she’s belting it out needs to also be able to be handled properly. Studio work and live performance are obviously very different, but one of the goals is to bring the fidelity and warmth of the studio experience to a live concert hall, and that involves using microphones that capture the nuances of her voice. I couldn’t be happier with the AE5400 for the whole range – it’s just perfect for her.”
An important element for Reitzas is one that is overlooked by some live recording engineers: the sound of the audience. “Barbra and her audiences have a deep mutual respect, so she interacts with them quite a bit. And they love her, so they freak out! It’s been an ongoing goal of mine to capture those audience reactions as precisely as possible. On this recent tour, I used an A-T mic that I hadn’t used before: the BP4025 X/Y Stereo Field Recording Microphone. It was exactly what I had been looking for – a nice wide, open sound, and enough rejection to where it was pretty directional but also wide so that I could capture a lot of people. And I also liked that it’s a nice small stereo mic that didn’t get in the way of the audience when I put it up on a stand, blocking the line of sight. So we ended up using a total of six stereo BP4025’s throughout the perimeter of the floor, and it was perfect.”
Beyond this, the rest of the mic setup is very heavy on A-T products. Reitzas remarks, “We’ve used the AT4060a Cardioid Condenser Tube Microphone on the overheads of the drums, for the bass cabinet we’ve used an AT4050 Multi-pattern Condenser Microphone, and for percussion we’ve used the AT4081 Phantom-powered Bidirectional Ribbon Mic, with additional AT4050’s on things like tympani and horns. We also use AT4041 Cardioid Condenser Microphones to capture the overall sound of the stage. So many of these mics end up back with us in the studio too, when we’re working on the studio productions. And I love my ATH-M50x and ATH-M70x Professional Monitor Headphones. I use the M50’s all the time, and so does Barbra.”
Reitzas adds, “It’s such a comforting feeling to have an intimate relationship with the products and people of Audio-Technica. They’ve been in the microphone business for over 50 years now, so the trust I have in their products is strong, and the personal care and attention they give to their artists and engineers is second to none. It gives me great confidence to know that when I choose an A-T mic for capturing a specific character of sound, it will always deliver the perfect result!”
This article is originally from www.audio-technica.com
Please contact us for more information on Audio-Technica products.
Attero Tech unD32 a Hidden Hero at Car Shows
Although best known for his work as a front-of-house and monitor engineer for such stars as Queen Latifah, Natalie Cole, and Roberta Flack, Rob Treloar does much more than mix shows. His company, Proscan Media, offers services ranging from live and studio engineering to production consultation, artist development, and web solutions. When not on tour, he provides audio services for trade shows, working for Ann Arbor, Michigan, technical services experts TLS Productions. Toyota is a TLS client, so Treloar often designs and installs multi-zone audio systems for car shows. The Attero Tech® unD32 32-channel Dante™ breakout box is at the core of these systems, hidden high above the sound and fury of the show.
“The booths at these shows are huge and spread out,” Treloar begins. “TLS Productions is primarily a lighting company, and they set up gigantic lighting systems with 200- to 300-foot sections of truss. At car shows, the companies have their various models on turntables. I set up 15 to 20 separate audio zones for these different locations on the show floor, with two to four loudspeakers per zone. I use high-end loudspeakers with tight pattern control because these are open areas, and we don’t want overlap between zones. In each zone, the car company has presenters, and we might have a dozen wireless microphones running. Toyota also has a stage with a sort of game show called Toyota Live that’s going on every hour, as well as celebrity appearances, and sometimes a DJ plays. It’s a challenging environment.”
In the past, building these car-show audio systems required running an analog snake up into the truss, branching it out over a 350 x 250-foot or larger expanse of five or six trusses, and then doing the cable drops. “It’s a lot of analog cable, so you run into ground loops, and maybe some of the connections are bad because it’s an old snake, that sort of thing,” Treloar asserts. “And you only get one chance to do the setup right. If you have to go back, you need to bring in a union guy with a lift, which costs a lot. It’s a logistical nightmare.”
Fortunately, Treloar had the knowledge and experience to come up with a better solution. “Because of my other projects, I understand the Dante transmission protocol,” he explains. “I started looking for a way to use Dante and run lightweight CAT5 cable up into the truss instead of big analog snakes. Then I discovered the Attero Tech unD32 Dante breakout box, which gives me 32 outputs over one CAT5 cable. It was like finding the Holy Grail!”
You often find the Attero Tech unD32 in permanent installations, such as hotels and houses of worship, but Treloar wanted to use it in a temporary rig for live sound. “I adapted the unD32 for live sound by adding 32 XLR connectors to the unit,” he relates. “I put it in a rack, and I mount that up in the truss. So I’m using the unD32 as a Dante-to-analog breakout box up on the truss, and then I branch out. It makes my life so much easier when we’re doing setup.” Treloar uses Dante-enabled wireless mics and consoles whenever possible, with the consoles handling the DSP, so the system is Dante all the way through.
Last year, Treloar supplied the audio system for a car show at the Los Angeles Convention Center. As with most such shows, the audio team was just Treloar and one other person, and he needed to get the installation done quickly to avoid holding up the much larger lighting crews. “Everything runs in catwalks at that convention center, and it takes 15 minutes just to get up there,” recalls Treloar. “Doing cable runs up there is crazy. But with the Attero Tech unD32, I was able to run just one CAT5 cable up to the catwalks, place the unD32 in a central location, and then branch out to do drops down to the truss. I had all my outputs in one place. It was fantastic!”
In addition to logistical and technical advantages, Treloar has found the Attero Tech solution extremely cost effective. “When I saw a single-rackspace Dante breakout device that could provide 32 outputs, my jaw dropped,” he admits. “In order for me to get that anywhere else, I’d have to spend thousands of dollars more, and my client probably wouldn’t agree to it. With the unD32, I have exactly what I need for a very affordable price. And Attero Tech is a cool company with very good people. They really have made my life much easier.”
Please contact us for more information on Attero Tech products.
PL+S 2017: Audio-Technica launches AT5047 studio mic
Audio-Technica has announced a new addition to its flagship 50 Series studio microphone range – the AT5047 cardioid condenser model – at Prolight + Sound 2017.
Following the original AT5040 vocal microphone and AT5045 condenser instrument microphone, Audio-Technica’s new AT5047 broadens the scope of the line-up with its improved dynamic performance.
Based on the distinctive, four-rectangular-diaphragm design of the AT5040, the AT5047 is a cardioid condenser with a transformer-coupled output that delivers a noticeably smooth sonic character and ensures high SPL handling without the risk of overloading mic preamps or console inputs. With its ability to cope with wide variances in dynamic range, the new model is designed for outstanding performance on everything from brushed snare drums to powerful vocals, guitar amps to brass instruments.
In common with the rest of the 50 Series, the AT5047 is hand-assembled and crafted from aluminium and brass, with an internal shock mount that decouples the capsule from the microphone body. The elegant, custom-designed AT8480 mount, included with the AT5047, also ensures isolation from knocks and transmitted vibrations in the studio.
Supplied in a hard-shell carry case with die-cut foam compartments, the AT5047 has a recommended retail price of £3499 / €3999 inc VAT and will be available in Europe from summer 2017.
Please contact us for more information.
ETC acquires High End Systems
ETC and High End Systems announce today they are joining forces as ETC completes the acquisition of the Austin, TX based company from Barco Inc.
ETC CEO Fred Foster says, “Today we welcome the High End team to the ETC family. ETC will provide a supportive environment enabling High End to continue to innovate and make great products for the industry.”
Under the ETC umbrella, High End gains the oversight of an experienced lighting industry team to grow its capabilities in service, support, and product development. “Bringing High End to the family furthers our goal of growing and diversifying ETC. We plan to help High End become a market leader for live event industry products,” says David Lincecum, VP of Marketing at ETC.
ETC will operate High End as a separate company located in its current Austin, Texas, USA facility. High End customers should continue to use normal means of contact for sales and service. Current contact information is listed here: www.highend.com/company/regional-sales#RDS
While there are no immediate changes to the sales and distribution channels, High End plans to evolve and improve the company’s reach in all markets by partnering with the existing distributor and dealer base and investing more in the support of these channels.
Mark Vassallo, ETC VP of Sales, and David Lincecum welcome feedback, questions or concerns regarding the acquisition.