Celtic FC upgrades stadium sound with fully networked solution from Bosch and Electro-Voice
- PEL Services Limited upgrades evacuation and public address systems for legendary Celtic FC with phased stadium installation
- Electro-Voice pro audio EVF and EVH series loudspeakers provide improved coverage and clarity as part of integrated digital audio network
- Bosch Praesideo meets all voice alarm and communication needs, networking interfaces with legacy loudspeakers and new sound system
Celtic Football Club in Glasgow boasts Scotland’s largest football stadium and some of its most ardent fans. When the club took on the task of upgrading the stadium experience, it engaged PEL Services Limited, an electronics engineering firm based in Northolt, northwest London, to design and install upgrades to the public address and emergency sound systems in 60,000-seat Celtic Park.
“Fully networked sound reinforcement for one of the loudest stadiums ever”
With a strong stadium-wide IT network and existing public address infrastructure already in place, PEL advised the selection of Bosch Praesideo digital Public Address and Emergency Sound System with Electro-Voice pro audio loudspeakers to improve coverage, clarity and fidelity within the main bowl area of the stadium. Because both systems can be interfaced to the Dante™ networking standard, both the Bosch Praesideo system and all Electro-Voice loudspeakers are monitored and controlled remotely via Electro-Voice N8000 NetMax digital matrix controllers.
“Celtic Park is an awesome stadium, and one of the loudest places I’ve ever been for a match,” notes Vic Swain, Engineering Director for PEL. “The club wanted a state-of-the-art emergency notification system, and wanted to integrate that with an audio system that would provide clear sound for every seat in the house. It’s a challenging project, but the combined solution of Bosch and Electro-Voice works perfectly.”
The first phase of the operation was the installation of the Bosch Praesideo public address and emergency sound system, serving what Swain refers to as the “back of house” area: the internal portions of the stadium, including concourses, turnstiles, restrooms, and offices. Its open architecture and high level of redundancy makes Praesideo a scalable, reliable solution that exceeds safety standards while offering complete communications flexibility.
The stadium system is based on dual Praesideo network controllers with an audio expander interface and six strategically placed call stations. The 100V audio system utilizes legacy installed loudspeakers, all of which were tested and upgraded with Bosch line supervision sets. This enables Praesideo to check all speakers for proper line operation. The system is powered by 22 Bosch power amplifiers with onboard DSP modules.
PEL engaged Acoustics Plus, an independent acoustic consultant based in Croydon, to advise on proper deployment of the Electro-Voice loudspeakers. Research included recording SPL levels throughout a game, documenting the sonic requirements and using computer modeling to map optimal locations and dispersion patterns for full coverage. Aimed down from beneath the roof, the system uses a mix of frontloaded EVF-1152D and horn-loaded EVH-1152D, both full-range, weatherized loudspeakers from the EV-Innovation family.
“Celtic always wants to do the very best for their fans – in addition to meeting the evacuation system legal standard for Speech Transmission Index,” notes Swain, “they also wanted it to sound just as good when the place is really rocking during a big match. These EV speakers accomplish that with ease, even in problem areas. We had structural engineers and riggers working closely with the acoustic consultant to make final adjustments. A lot of preparation, but on the day the speakers were hung and aimed, it was extremely quick and accurate.”
As part of the process, Electro-Voice CPS series power amplifiers, two N8000 NetMax DSP matrix units, and a redundant fiber ring were installed as infrastructure support for the full stadium system. To date, the new loudspeakers are in place above the north stands and adjacent corner areas. Future phases will complete the installation above the south stands, adjacent corner areas, and west and east stands behind the goals.
“The integration of Bosch Praesideo in the back of house with Electro-Voice loudspeakers aiming at the area above the seats, all working together in a centrally controlled network, represents a real commitment to the safety and comfort of the fans,” he says. “It’s great to help a legendary organization like Celtic F.C. to achieve their goals.”
This article is originally from www.electrovoice.com
Symetrix Radius a sound choice for Stella Hotel
The new Stella Hotel, located conveniently close to the Easterwood Airport, accommodates visitors who want to enjoy their stay in comfort and attend events in well-appointed spaces. To ensure quality sound in the ballroom and meeting rooms, the hotel called on systems integrators Hairel Enterprises of Conroe, which specified a system based on a Symetrix Radius 12×8 EX DSP.
“The Stella Hotel is one of the nicest hotels I’ve worked on in years,” relates Hairel Enterprises vice president Rob Slaughter. “It features 20,000 square feet of meeting and event space, including the three-section Aurora Ballroom and four outboard meeting spaces. The background music system is extensive and uses a lot more 70- volt speaker zones than you would expect. Music is routed to zones in various combinations, and zones often are combined, depending on what’s going on. Symetrix DSPs are the first processor we reach for, especially for hotels, and the Radius 12×8 EX easily handled everything for the Stella Hotel project.”
Slaughter cites multiple reasons for choosing Symetrix, starting with reliability. “We’ve used a lot of Symetrix processors, going back many years,” Slaughter recounts. “Sure, once in awhile a unit will fail due to a lightning strike or a Coca-Cola spill, but Symetrix DSPs are among the most stable products across the board-not just in DSP land but in product land in general. Their mean time between failures, or MTBF, is very low.”
Another factor is ease of use. “You don’t have to be a rocket scientist to program it,” insists Slaughter. “You can do a lot with Symetrix’ Composer software, and it doesn’t fight you. The GUI is very friendly. Some of our people regularly go to Symetrix training classes, too, so we know how to get the results we need. Also, Symetrix processors integrate easily with the Crestron control systems we used in the Stella Hotel.”
Symetrix Radius 12×8 EX processors are equipped with 128 (64×64) redundant Dante™ channels for audio networking over IP. The Radius 12×8 EX offers 12 analogue inputs and eight analogue outputs, and the I/O is expandable via an expansion card slot. The Radius 12×8 EX in the Stella Hotel system includes Symetrix xIn 12 and xOut 12 expanders, which add a dozen analogue mic/line inputs and outputs. Slaughter’s team also specified a Symetrix xControl External Control Expander, which provided eight flexible analogue control inputs; 16 logic outputs for driving LEDs, trigger relays or control contact closure ports; and 2 RS-232 ports.
“The Radius’ audio quality, compatibility, reliability, and ease of programming were major factors,” Slaughter recounts, “but there’s another reason we chose Symetrix: We have a great relationship with the Symetrix rep. We buy based on relationships because we know we’ll get great support. I’ve had times I needed a DSP the same morning, and the Symetrix rep found one for me.” Of course, for the customer, it’s about reliable, high-quality performance. “We have the utmost confidence in the Radius DSP in the Stella Hotel system,” concludes Slaughter. “Symetrix processors just plain work.”
This article is originally from www.pro-systems.co.za
Please contact us for more information on Symetrix products.
Lighting the 200-year-old rock star
Strange to say, but until this year there had never been a museum dedicated to the Revolutionary War. That all changed this past April when The Museum of the American Revolution opened in Philadelphia And the “rock star” of the museum, according to The New York Times, is George Washington’s field tent. Yes, that George Washington. The actual, more-than-200-years-old tent that General Washington ate in, slept in, and plotted in (it was called the original Oval Office) is on display at the museum. Making sure it can be seen, though, was a tough battle in itself. The museum had to satisfy the requirements of the conservators—making sure the centuries-old fabric was preserved—yet create an engaging show that would be compelling to modern audiences. To balance these competing directives, they turned to Ted Mather and Rachel Gibney from New York City’s Available Light. And they, in turn, chose ETC ColorSource fixtures.
Mather has extensive experience in museum lighting. “I started getting pulled into this in 1999, when exhibit designers were realizing they had to up their game,” says Mather. Museums realized that simply presenting a wall of information and artifacts behind dusty glass wasn’t connecting with modern audiences, and they were losing the battle for attention with the new generation. “What they started to do was create immersive environments that felt like science labs or operating rooms. When the environment around you changes based on your actions, you feel engaged and there’s a reason for you being there, as opposed to just sitting there,” adds Mather. “Visceral experiences stick with you afterwards.”
And while Mather and Available Light’s experience in the theatre realm gives them a keen understanding of the dynamic ways to use light to tell a story (color, contrast, texture, movement, angle, focus), their experience on the exhibit side means they know how to do it simply. “There’s no run crew in a museum,” explains Mather. “Available light has learned to use a theatrical lighting language without requiring the maintenance and support a show does. We are attuned to doing design work that can withstand the architectural environment.”
All of which is exactly why they were called in for George Washington’s tent. The museum knew they needed to produce a show that would get audiences emotionally invested, and had hired a video production team to create a film-like experience around the tent. The experience would show what the tent meant to George Washington and the success of the American Revolution, all while changing the times of day and locale, evoking a sense of the travels of Washington, depicting different locations of fields, foliage, frozen streams, snow and winter.
“Basically the video is different locations and times of year,” says Mather. “Our lighting needed to track those times of day, where the sun was coming from and going to, then light the scenery around the tent as if it were in that setting—gobos for patchy clouds, some dappled green for foliage.”
But now that the museum had a video exhibit, they had two competing directives — and a lot of restrictions.
Directive One: Docent viewing. The museum still needed a traditional “isolated jewel” look for the tent, showing it off under white light. “Whatever was lighting it had to reveal it as an artifact, a piece of historical material. The fixture had to do white very well,” says Mather.
Directive Two: Show looks. For the video show, the light needed to be able to show a variety of colors as well as have a variety of texture to wash the tent as if it was outside, in the actual environment being displayed on the video. “The whole point here was to show it ‘outside,’ out there with the men in the middle of winter, the middle of summer.” In this mode the light had to be carefully controlled so that it wouldn’t spill on the video projection surfaces, or out into the house.
In addition to these artistic guidelines, there were numerous technical demands that had to be adhered to. The light had to be UV and infrared free. And finally: There was a hard limit on how much light could hit the tent. The tent could handle no more than 50,000 lux hours per annum. “Whatever the brightness was, we had to meter all of that and add it all up – brightness, length of show, number of shows per day, week and year — at the end of the year it all had to stay below 50,000 lux hours per annum.”
The competing demands for viewing, combined with the hard restrictions on lighting output led to a museum staff that was skeptical the exhibit could happen without damaging the tent.
“The fact that I have a show background immediately raised red flags to some people on the museum’s staff. ‘Will they know anything about conservation?’ ‘Will they be responsible with the artifact?’ We had to build trust,” says Mather.
They did that by conscientiously listening to conservator’s requirements on UV, infrared, and ozone, and using in-depth measurements during thorough test runs. The hard cap of 50,000 lux hours per annum the tent could be exposed to annually? Mather brought in a color spectrophotometer to measure and record the output of lights. That hurdle crossed, the conservators demanded the lights had to be placed at least eight feet away from the tent. Why? “Fibers in the tent will expand and contract from heat,” says Mather. This requirement is a holdover from the days of halogen and has become irrelevant in the age of LED sources—but the conservators didn’t know that. “I had to leave a light on for a few minutes and then ask them to feel the fixture, to see how not warm it was. I took the time to educate the conservators about the lights, because it’s such a big responsibility for them.”
Mather and his crew also built a full-scale mock-up of the exhibit in Orlando. They used it to test several different fixtures, measure output and judge the quality of the light. “We tested several different fixtures: ETC’s LED Source Four Series 2 with the Lustr and Tungsten arrays, ETC’s ColorSource fixture and a few others,” says Mather. “We needed a fixture with a high quality white and good color. We wanted pick a fixture that would make the historians happy.” They chose the ColorSource line of ellipsoidals and PARs thanks to the quality of their light and their beam shaping capabilities. And the historians were happy—so happy, in fact, that they asked Available Light to design the light for the rest of the museum, too.
The result is a show – and museum – that preserves the historical artifacts of our nation, and also creates an excitement around it.
“I’m delighted to have been able to work with such a creative team dedicated to making the tent a meaningful part of our nation’s story,” adds Mather. “I’m thrilled with how it turned out! Rather than an embalmed artifact, it really breathes life into our relationship with George Washington.”
Not bad for a 200-year-old tent and the latest in lighting.
This article is originally from www.etcconnect.com
Symetrix serves at the Lincoln Presidential Museum
Just as Abraham Lincoln remains one of the most popular U.S. Presidents, the Abraham Lincoln Presidential Library and Museum (ALPLM) is one of America’s most popular presidential libraries. More than 300,000 visitors pass through its Gateway area each year to enjoy 40,000 square feet of immersive exhibits, historical artefacts, interactive exhibits, and dramatic performances. While only a few exhibit areas rely on spoken word, audio is everywhere: mostly music, sound effects, and occasional museum-wide announcements.
After a dozen years, the museum’s analogue audio system began to show its age, and some pieces could no longer be serviced. After research and consultations with systems integrators Video Services of America in Chicago, ALPLM Systems technical director Sam Cooper opted for a Dante-enabled network managed by four Symetrix Prism 16×16 DSPs and a Symetrix Radius 12×8 EX DSP equipped with a Symetrix 4 Channel Analog Output Card.
Music and effects are supplied by TASCAM DA-6400 64-channel digital recorders with Dante I/O cards connecting the recorders directly into the Dante network. An assortment of JBL Control-series ceiling and wall-mount loudspeakers deliver the audio, powered by Crown amplifiers.
Visitors buy their tickets at the Gateway, but you won’t hear networked audio there because, observes Cooper, “that would drive the front entry personnel nuts.” On entering the Plaza, though, guests begin an audio-intensive walking tour through the world of Honest Abe. “You might see and hear Lincoln giving a speech, or hear birds, bugs, chopping wood, and music in the Plaza,” offers VSA Senior Sales Representative Greg Bayer. “The museum uses a vast array of synchronised sound effects and music, and as you move between locations, you transition to new sounds and music. There are speakers everywhere, and getting the timing and flow right requires sophisticated control, which is a strength of Symetrix DSPs.”
The exhibits are organized into two major “Journeys.” Journey 1 presents the Railsplitter’s pre-Presidential years, while Journey 2 is about his presidency. “The cool thing about the Journeys is the 27 separate areas we call Scenes,” Cooper details. “For example, Scene 1 is outside the log cabin, and Scene 2 is inside the log cabin. As you wander through, the music changes from one scene to another-but at the doorways, the music is blended so you don’t notice that it changed. The composer wrote the music to keep the same feel throughout transition areas yet immerse you into the scene.”
This complex audio network covers the museum exhibit areas and the Plaza only, although plans are to extend coverage to the gift shop. It could eventually also cover the library if desired. The two theatres, both still on the older analogue audio system, will also be added to the Symetrix network eventually.
From the Plaza, you can enter “Journey 1,” which uses 28 channels of audio, while “Journey 2” has 56 input channels where every input is used, including XLR analogue inputs. “The Plaza has its own music,” notes Cooper. “The ‘Ask Mr Lincoln’ exhibit has separate dialogue. ‘Mrs. Lincoln’s Attic’ has its own music, as does the ‘Illinois Gallery,’ which changes with each exhibit. We didn’t use much EQ, but level control was very important, and the Symetrix DSPs made a big difference there.”
In fact, says Cooper, level setting was the most challenging part of programming the system. “We’d take it down 3 dB in one room, then realise that’s too much, so we’d adjust it again,” he recalls. “But because of that change, we’d have to go to the next room and make a little change. We spent a lot of time going back and forth and adjusting. We walked the Journeys with the VSA team over and over until we got it right – and they did a great job. Once we got the levels right, we generally haven’t had to change them.”
Symetrix’ products proved to be the right solution. “We chose Symetrix DSPs because they have the capabilities we need, including Dante, while also fitting our budget,” reveals Cooper. “They’re not hard to program in general, but neither VSA nor I had done something quite like this before. In addition to level control in the Plaza, we wanted two Symetrix ARC-3 controllers, mounted inside our operator control panels that mirrored each other to control the Plaza system. We have four zones in one scene that use multiple audio streams, depending on section, and those need to be controlled independently on a dedicated mixer in the DSP. Sometimes we mute individual scenes, which adds complexity. We have interactive exhibits on the network, each with audio. We also wanted the ability to expand the system. It was a lot to program. So VSA called Symetrix on the phone, and the Symetrix people were great about explaining how to do what we wanted.”
Beyond the Plaza, with its two ARC-3 panels, each Journey-except the two theaters- has a separate Symetrix ARC-series wall panel for control. That includes a Symetrix ARC-K1e rotary encoder mounted in “Ask Mr Lincoln’s” electronic control room, and three ARC-SW4e push-button wall panels remotely controlling audio functions for the Journeys.
Sam Cooper is thrilled with his new audio tools, and with life at the ALPLM. “I have a dream job, and I have a great staff that backs me up,” he enthuses. “We worked on all of this together and made a point of including the entire staff in the install as much as we possibly could. VSA did a great job making the system work the way we wanted it to. The Symetrix network has been bulletproof. I am very, very pleased.”
This article is originally from www.pro-systems.co.za
Please contact us for more information on Symetrix products.
Indian Wells Tennis Garden selects RTS and Electro-Voice audio products for Stadium 1 upgrade
Burnsville, MN, May 2017: Located in Palm Desert, California in the Coachella Valley, Indian Wells Tennis Garden boasts 29 regulation tennis courts. At 16,100 seats its largest, Stadium 1, is the second-largest tennis-dedicated stadium in the world. Indian Wells is the host to the annual BNP Paribas Open, a major two-week pro tournament. Constantly evolving under the ownership of Oracle founder Larry Ellison, the facility recently rebuilt and refurbished Stadium 1, including a complete audio makeover that features premium products from two Bosch brands: RTS and Electro-Voice. Technicomm Industries, an area firm that has handled previous Indian Wells expansions and upgrades, was contracted to handle the upgrade.
“We had a loudspeaker demo shootout; six companies, no loyalties, and the EV products flat-out won on sound quality and aesthetics.”
“They decided to totally refurbish the main stadium last year. One goal of that change was to modernize the intercom system,” says Steve Burgess, project manager for Technicomm. “We wanted a system that could become part of our site-wide Dante audio network, and RTS was one of the few brands with that capability.”
Burgess contacted his regional RTS rep, Jeff Shorsher, to arrange a demo. Upon experiencing the system’s capabilities, Indian Wells and Technicomm agreed it was the smart choice. Operating as part of Indian Wells’ existing Dante matrix system would create great flexibility, enabling both in-house and external communications. In addition, it would enable Technicomm to address another need by eliminating equipment clutter in the broadcast booths.
“Over the years, the booths, which are quite small, had built up a variety of equipment to meet communication needs, including multiple radios, cell phones, and a computer,” notes Burgess. “By integrating everything together in a Dante network, the RTS system met every need and eliminated a ton of gear from that booth. That made a lot of people happy.”
The intercom system is based on an RTS ADAM-M digital matrix and utilizes OMNEO IP technology as its networking backbone. A total of 15 RTS DKP-4016 desktop keypanels and one rack-mount RTS KP-5032 keypanel are spread throughout the sprawling Indian Wells facility, each fitted with a gooseneck microphone.
“The programmability of the RTS intercom system put us miles ahead of our previous capabilities,” says Burgess. “We were able to route several Dante audio streams into the system and tailored each keypanel to what that operator needs on it. We were even able to incorporate the audio stream for the Hawk-Eye line judging system, which was a huge advantage for the broadcast team.”
The Hawk-Eye visually tracks ball trajectory and is used to adjudicate disputed out-of-bounds calls in professional tennis events, including the PNB Paribas Open at Indian Wells. The system requires audio input from the court effects and umpire microphones, which previously was achieved with the help of an outboard mixer.
“Having a Dante network with RTS keypanels changed all that,” says Burgess. “Now we use the speaker on the keypanel as the playback device. All we had to do was go into our Dante controller, drag the source channels over to the destination and boom, it was done. Very simple, easy to use, and sounded great. It’s a good example of the flexibility of a Dante-based system. It also eliminated a whole bunch of gear out of the broadcast booth, which was another goal of ours.”
Another major aspect of the Indian Wells upgrade was the public address system. When Technicomm learned that the Bosch family of brands included Electro-Voice, they were invited to be part of a multi-brand comparison. Quantum’s EV rep, Dave Brown, came in to consult on product selection and provide evaluation samples.
“We had a loudspeaker demo shootout; six companies, no loyalties, and the EV products flat-out won on sound quality and aesthetics,” explains Burgess. “The EVID ceiling speakers were the clear choice based on superior sound quality.”
A total of 60 EVID PC 6.2 premium ceiling speakers were installed in the facility’s premium areas, including the owner Larry Ellison’s private suite, along with other viewing suites, the champions’ lobby, and fitness center. For wall-mount indoor/outdoor applications, the facility chose the EVID 4.2, a weather-resistant design that combines attractive styling and flexible mounting with high fidelity and exceptional intelligibility.
The installation itself was a major challenge for Technicomm due to delays in the physical construction process of refurbishing Stadium 1. “We were joking that we needed more Bosch power tools, because we were basically working through February 5th, and the tournament started the next day,” says Burgess. “We ended up connecting and testing everything outside the audio cage before we deployed it. Jeff Shorsher and Calvin Ogawa from RTS really had my back, programming the system on site and interfacing it with the broadcast system. They made sure that when we put the gear out in the field, it worked right the first time. I want to thank them for their incredible support.”
While the audio and intercom upgrades were focused on Stadium 1 and broadcast logistics for the annual BNP Paribas Open, the facility is in year-round use for other events as well, including music and arts festivals, major concerts, and as a graduation venue for area high schools.
“By adding RTS intercoms and EV loudspeakers to the Dante-based system they had in place, Indian Wells now has the flexibility to provide the audio and communications for any type of event, with scalability that will make future expansion easy,” adds Burgess. “And history tells us that there will be ongoing enhancements at Indian Wells Tennis Garden for years to come.”
This article is originally from www.electrovoice.com
Attero Tech aloft in Perth
Stokes Technologies was brought in to design the A/V infrastructure for the meeting and entertainment spaces at Aloft Perth, the latest addition to Aloft Hotels’ global portfolio. Although the hotel’s specification called for patch panels to be incorporated into the system, the A/V systems integrator elected to offer an alternative using Attero Tech wall plates.
‘A patch bay only lets you send one point to another point,’ explained Aaron Mitchell, system engineer at Stokes Technologies. ‘While patch panels are fine for a recording studio, the production guys here don’t like them. Going with Dante and Attero Tech allowed us to bring all the channels to the DSP, route them wherever we want and make control easy.
‘We initially priced the job with point-to-point XLR cables but when we changed to Attero Tech wall plates and a network, we found that running one Cat-6 instead of six XLR cables can cover the cost of the wall plate. In addition, we can get electrical trades and IP trades to run and terminate our Cat cables so our brain trust can work on the programming instead of soldering cables.’
The installation covered the hotel’s W XYZ bar, Re:Mix Lounge and outdoor pool on the ground floor with seven meeting rooms on the mezzanine and a rooftop area comprising the Springs Ballroom and an outdoor terrace. ‘This is a new hotel, so it’s ground-up construction,’ noted Mr Mitchell. ‘We built a ground-level system that is networked to the mezzanine system and a rooftop system that’s connected by network switches and fibre. We have 12 spaces of background music across the ground level and mezzanine. We’re using two Attero Tech unD6IO 4-in, 2-out Dante wall plate interfaces in each mezzanine room, with balanced, switchable mic/line inputs and phantom power.’
The rooftop is equipped with seven Attero Tech wall plate locations, each comprising an unD6IO and an unDX2IO 2-in, 2-out Dante wall plate to provide additional channels. These solutions are managed from the mezzanine, 13 floors below. ‘We also used unDIO2x2 2-in, 2-out flange-mount Dante interfaces,’ said Mr Mitchell. ‘There are 170 channels of Dante going across the system, including 70 from the rooftop level. IP TV runs down the same fibre using HDMI transmission over IP.’
In the W XYZ Bar is a BGM system and a wall-mounted television that receives IP TV signals. ‘We’re taking audio from the IP TV box to a unDIO2x2 interface,’ explained Mr Mitchell. ‘This deploys it back onto the audio network, from which it can come back through the BGM speakers.’
Achieving even coverage throughout the bar was a challenge due to the narrow space, high ceilings and several obstructions. To combat this, Stokes Technologies installed a combination of pendant and flush ceiling speakers. ‘We have speakers at 6m high and at 2.5m all within one zone,’ Mr Mitchell reported. ‘We’ve got Crestron pendants in that area because of the ceiling height.’
A range of sources are set up at the start of the signal chain in the bar. Mood Music Players located on the roof level and an Essential CD player provide four BGM audio channels. There’s also a local Attero Tech unD6IO input with XLR microphones and the television. Source selection is via a Crestron touch panels. The Stoke Technologies team simplified control further by programming default states, ensuring the system functions without the touch panel.
This article is originally from www.proaudio-central.com
Please contact us for more information on Attero Tech products.
Electro-Voice and Bosch provide “heard, but not seen” sound solution for Houston gallery
- Electro-Voice EVID Compact Sound systems hidden amid ceiling elements create calm, welcoming ambience throughout art gallery
- Southwest Building Systems designed the system to meet gallery requirements for high fidelity and intelligibility with minimal visual impact
- Bosch PLENA matrix mixer provides wireless control of all audio in gallery, controlling zoned loudspeakers via iOS app
For their Art of the World Gallery in Houston’s River Oaks area, co-owners Liliana Molina and Mauricio Vallejo wanted to augment their guests’ appreciation of the outstanding contemporary artists they display. Southwest Building Systems of nearby Silsbee was engaged to realize this vision, and an audio visual system was installed to support artist presentations and provide background music. There is also a sound system in the VIP room, where patrons can privately view art they are considering for purchase.
“The idea was to create a warm, comfortable ambience throughout the gallery, while keeping the visual focus on the art itself,” says Brent Thornhill of Southwest Building Systems. “We knew that a combination of Bosch signal processing and the new EVID Compact Sound loudspeakers by Electro-Voice could produce the audio impact they wanted while being, essentially, invisible.”
To meet the gallery’s requirement of consistent, high-fidelity sound throughout their two-story space, Southwest Building Systems used a zoned distribution system, the Bosch PLENA matrix mixer (model PLM-8M8). Easily implemented, the mixer allows independent control of source material and volume, either directly through wall-mounted Bosch control panels and volume controls, or wirelessly through the Bosch PLENA app for iOS devices.
Because the gallery hosts presentations by the artists it exhibits, a separate sound system was needed for the front foyer and reception area. For this open space, Thornhill installed an Electro-Voice R300 wireless microphone system with both handheld and bodypack transmitters. A single Electro-Voice EVU-1082 loudspeaker, mounted above the reception desk, provides full-range, highly intelligible audio at modest volume levels from both spoken and musical sources.
The primary background audio for the main gallery spaces is provided by the EVID S44W Compact Sound system from Electro-Voice, which consists of four small satellite speakers and a single subwoofer, finished in white. Four such systems are spread throughout the gallery, with the tiny yet robust satellite speakers mounted to the ceiling beams and the compact subwoofers installed atop floating ceiling structures, making them completely invisible to the patrons. In addition, 16 Bosch LB2 speakers at ceiling level along the periphery ensure that every corner of the gallery is covered uniformly.
The final touch is the Art of the World Gallery VIP room, where clients can arrange private viewings of a piece they are considering for purchase. This private room is set up as a separate audio zone, with music provided by a single Electro-Voice EVID FM 4.2, a two-way, flush-mounted speaker set into the wall along with a Bosch rotary volume control. Co-owner Mauricio Vallejo liked the sound quality so much, he had one installed in his own office as well.
Vallejo is extremely pleased with both the sound quality and control that the system delivers for Art of the World Gallery. “Southwest Building Systems gave us everything we asked for, with clear, beautiful sound everywhere,” he says. “To have total control of the sound system, anywhere in the building, from my iPad or iPhone, is something we all love. It makes everything easy and professional, enhancing the viewing experience without interfering with it. We are very pleased.”
This article is originally from www.electrovoice.com
Electro-Voice delivers world-class sound at Hard Rock Stadium
- Installation was part of a three-year renovation to transform the facility into a destination for world-class sports and entertainment events
- Over 3,000 loudspeakers provides seamless coverage to all seating areas, concourses, offices, and public areas
- Comprehensive system was designed and installed by Diversified Systems in collaboration with the Bosch/Electro-Voice team
Hard Rock Stadium is owned by, and home to, the NFL Miami Dolphins. It also hosts University of Miami football and major entertainment events throughout the year. As part of a three-year, facility-wide renovation, the re-named facility now boasts a massively upgraded sound system by Electro-Voice.
With the stadium’s addition of a roof and massive video displays, crowd noise levels are substantially higher than the original open-air design, making even coverage critical, both in terms of SPL and frequency response. In addition to the primary task of improving the fan experience through better audio, the sound system is also used for mass notification of life safety information. The Dolphins selected Diversified Systems to design and integrate the system, charging them with the task of overcoming increased levels due to roof reflections while delivering both vocal intelligibility and musical fidelity.
Drawing from all parts of the diverse yet sonically matched Electro-Voice loudspeaker portfolio, the installation delivers concert-quality sound via 186 XLCi-127DVX line array elements, weatherized and integrated into custom-engineered frames to withstand extreme storm and wind conditions. These are augmented by EVF-1122S front-loaded loudspeakers and EVH-1152D long-throw loudspeakers to cover hard-to-reach zones like corner seating areas. In addition, 48 dual 18-inch subwoofers, custom designed for the project, add an exciting bass element that was absent in the stadium’s previous system.
An ongoing installation challenge was the management of the installation across the renovation’s phased construction timeline, requiring ongoing support of the legacy sound system while the new Electro-Voice system was being installed, tuned, tested, and deployed. To ensure even coverage throughout all seating areas, EASE modeling and intelligibility plots were critical tools in selecting the appropriate loudspeakers and their placement. Two Electro-Voice NetMax N8000 digital matrix controllers allowed the integration team to apply FIR filtering to optimize loudspeakers as needed and appropriate.
In addition to the primary task of improving the fan experience through better audio, the sound system is also used for mass notification of life safety information. Electro-Voice ceiling and surface-mount loudspeakers ensure smooth, continuous coverage in luxury suites, concourses, restrooms, offices, and all public areas throughout the stadium. This task required approximately 1800 ZX1i indoor/outdoor loudspeakers and over 1000 EVID ceiling-mounted designs selected from EV’s wide range of options.
The Dolphins team are pleased to report that the system has exceeded their performance expectations while meeting budget and timing requirements. The system is at its best when the stadium is full, enhancing the fan experience with clear, effortless coverage, and rising to the occasion to amplify crowd energy in big moments.
Whether deployed for sporting events or major concert events, Hard Rock Stadium offers a winning combination of full-range fidelity, comprehensive coverage, and high intelligibility that plays a key role in transforming the venue into global entertainment destination for large-scale events.
This article is originally from electro-voice.com
ETC scales new heights with introduction of Prodigy P2 hoist
ETC is kicking off a new era in upper stage machinery with the introduction of the P2 hoist. Offering quick installation, easy operation, revolutionary features and affordable system expansion, P2 – the newest hoist in ETC’s Prodigy® family – can go where other rigging systems can’t.
The compact, 130-kilogram* P2 fixed-speed hoist has a 300-kilogram load capacity and can be used as a complete system by itself, or it can be combined with larger hoists in a hybrid system. Using five millimetre lift wire rope, it offers 15 metres of travel with up to eight lift lines. ETC’s QuickTouch® and Foundation® families of rigging controllers are feature rich, yet intuitive and uncomplicated, and work seamlessly with P2, and all of the hoist solutions from ETC Rigging.
The revolutionary features and capabilities that set ETC’s rigging products apart from others are at work in P2. The P2 hoist can be installed with or without ETC’s unique compression tube, is engineered to fit into the smallest spaces without adding lateral loads to buildings, so venues that aren’t able to use other larger hoists will finally be able to access automated rigging. Additionally, loft blocks can be positioned independent of the building’s structural mounting points, and allows users to support the attached load in a manner best fitting the load, instead of the building.
Safety is at the heart of P2, which includes load cell, and slack line detection. It also has a self-locking worm-gear system to prevent accidents. P2’s control electronics are built into the hoist, and incorporate hard-wired deadman and E-stop circuits.
Thanks to its advanced features and design, P2 is easier to install and commission than most other hoists on the market. “It takes very little time to get P2 in place,” says ETC Rigging Product Manager Nils Becker. “A pair of technicians could install six fully-commissioned hoists in a single day. That saves venues on installation costs, and results in less disruption to a production or event schedule.”
Adding additional hoists to a P2 system or upgrading existing hoists is also a simple process. “Rigging systems from other manufacturers often require significant control and wiring changes to add hoists, but ETC systems don’t,” explains European Rigging Sales Manager Enrico Nobile. “The faster installation and compatibility of our system components results in cost savings for our customers.”
For more information about P2 and all ETC Rigging systems, visit www.etcconnect.com.
Sustainable lighting solution for the Martin Harris Centre for Music and Drama
Situated at the heart of The University of Manchester’s campus, the Martin Harris Centre for Music and Drama recently underwent a significant refit, including the installation of a state-of-the-art, energy-efficient production lighting package, featuring a control desk, LED luminaires and power controls from ETC, and auditorium lighting from GDS, all supplied and installed by Stage Electrics.
An important arts venue for north-west England, the Martin Harris Centre offers students a fantastic space in which to study and perform, as well as hosting many professional musicians, performers and prize-winning authors. It provides an excellent space for contemporary and classic theatre, music and comedy events, and holds a reading series that has in the past featured such literary luminaries as Martin Amis, Will Self, John Banville and Clive James.
The project, which was made possible due to significant funding from the Faculty of Humanities, is part of a campus-wide initiative that supports the University’s commitment to environmental sustainability and saw a complete overhaul of the lighting in the venue’s Cosmo Rodewald Concert Hall and John Thaw Studio Theatre.
Longstanding supplier to the University, Stage Electrics was appointed to design, specify and install a complete lighting system for the two multipurpose facilities. Karl Spencer, the venue’s technical services manager, worked closely with Stage Electrics’ Rob Beamer and Karl Formstone to ensure the right solution was selected and installed.
“Energy efficiency was a driving factor in this project, but there were other points to consider too, like flexibility,” says Rob Beamer.
“The venue hosts a lot of classical concerts where maximum light levels are critical, whereas colour rendering and colour mixing capability is important for lighting dramatic performances, for example. For power controls, space was at a premium, so we had to bear that in mind too.”
The comprehensive solution, specified following extensive demonstrations between Stage Electrics and the University, includes an Ion® console with two fader wings; a Unison Paradigm® power control system; Sensor® dimmers with ThruPower modules; and an array of ColorSource® PAR, Source Four® LED Series 2 Lustr® and Daylight HD fixtures and a comprehensive state-of-the-art house lighting system from GDS.
Rob Beamer adds: “We put a lot of time into getting it right. The challenge was to deliver a versatile, energy-efficient lighting solution to maximise the experience for both performer and audience, without compromising on quality. And I think we have succeeded.”
Karl Spencer, the Martin Harris Centre’s technical services manager said, “As part of this extensive lighting project, our spaces have been converted to energy-efficient LED, for both lighting performances and house lighting. The end result is excellent and our performers and audiences alike are already enjoying the improved lighting. The installation offers us a flexible, efficient and sustainable lighting solution which underpins the University’s environmental sustainability strategy.”