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.
ETC launches Unison Paradigm Inspire control stations and Dual Tech sensors
ETC has expanded its Unison Paradigm® line of architectural lighting controls, increasing lighting station options with the line of Inspire® control stations and making it easier to comply with stringent energy requirements with the new Dual Tech sensors.
Inspire Control Stations
The powerful and elegant Inspire station, originally introduced in the Unison Echo® product line, is now a member of the Paradigm family with an updated design and the full feature set of the Paradigm control system. Stations come in a range of styles and button configurations, which allow them to be a perfect match for any installation.
The Inspire stations can be easily programmed for preset lighting looks, zone control, space-combine functions or any other Paradigm control function. With one-, two-, four-, six-, and eight-button station options – as well as the four-button station with a fader coming late summer – the Inspire stations can be as tailored as the light itself. Laser marked button labels identify each button, and custom marked button caps are available to personalise any installation. The button caps are easily replaceable in the field if control needs change with ongoing use.
Each button features a colour-controllable LED backlight that offers a quick visual indicator of function and button state. And when it’s time to set looks, the Inspire fader station offers basic intensity control as well as intuitive colour control for hue, saturation, and intensity for colour mixing luminaires.
Contractors will appreciate the thought that went into making installation a snap. The stations are standard sizes and can easily be ganged together to fit into any control location required. Stations and faceplates are available in cream, grey, black, and white, ensuring a visual fit in any setting. Behind the scenes the stations use the LinkConnect two-wire, topology-free system to give installers the freedom to put stations where needed without worrying about wiring.
“They’ve been incredibly popular as the face of the Echo control line and now we are very excited to offer them as an additional control station option for our Paradigm line,” said Bryan Palmer, architectural market manager for ETC.
The Paradigm Inspire button stations will be available at the end of April, with the four-button fader station available in early summer.
For more info, visit www.bit.ly/epinspire
Paradigm Dual Tech Occupancy and Vacancy Sensors
ETC’s new Dual Tech Occupancy/Vacancy Sensors are designed for restrooms, privacy rooms and other areas where a lack of movement doesn’t necessarily mean a space is unoccupied. The Dual Tech sensors take their name from the fact that they couple passive infrared (PIR) detection with acoustic detection technology, ensuring lights stay on when needed and turn off when they’re not.
Spaces of any size are supported by the new Dual Tech sensors, with multiple mounting options including ceiling-, wall-, and switch-mounted configurations. More installation customisations include the option to program either Occupancy or Vacancy mode during commissioning, multiple coverage options – with a walk test function to confirm coverage – and multiple finish options. Dual Tech Sensors meet ASHRAE 90.1, IECC, and CA Title 24 codes, keeping occupants comfortable while complying with current energy regulations. They are also UL listed and CE marked.
For more information about Paradigm Dual Tech Occupancy and Vacancy Sensors, visit www.bit.ly/etcparadigmdual
Audio-Technica provides complete audio setup at Spiritland
A recent collaboration between London-based venue Spiritland and Audio-Technica UK has seen a variety of the company’s products installed in the venue to help deliver a diverse offering of interviews, Q&A sessions, DJ sets, album playbacks and radio output.
Created as a space to “celebrate artistry and indulge the senses”, Spiritland combines café, bar and radio station with an in-depth musical programme seven days a week (already featuring the likes of guest DJs Jarvis Cocker, Andrew Weatherall and La Roux).
Spiritland’s sound system features a unique pair of Living Voice loudspeakers, valve amplification from Italian manufacturer Atelier du Triode and a towering Kuzma turntable. At the very beginning of the audio chain is Audio-Technica’s ART1000 direct power moving coil cartridge which is employed to provide perfect audio reproduction from the turntable onwards. Additional cartridges selected from Audio-Technica’s new VM moving magnet range are used for vinyl playback from the separate twin decks at the DJ booth.
Five pairs of Audio-Technica’s flagship M-Series headphone, the ATH-M70x, and five BP40 large-diaphragm dynamic microphones are the foundation of the radio studio set-up (with limited edition matte grey ATH-M50xMG headphones available for visiting artists at the DJ booth); while U853R condenser hanging microphones are also installed from the ceiling for ambient sound pickup of the audience in the main seating area. The company’s ATM610a hypercardioid dynamic and BP892 subminiature condenser headworn microphones also feature for live panel and interview sessions.
Audio-Technica UK were also able to provide a solution for the spoken word and background audio with six Apart Audio Mask 6T two-way speakers mounted above the café/bar area, powered by Apart’s four-channel REVAMP4120T bridgeable power amplifier. The Mask 6T’s sleek, curved cabinet design fits well with Spiritland’s considered design aesthetic, while an additional REVAMP4120T powers different pairs of vintage bookshelf speakers which are located in each of the venue’s four restrooms.
Overall the Audio-Technica microphones, headphones and cartridges employed in Spiritland’s signal chain help complete a mix of original analogue equipment, while also playing a part towards the output generated from the venue’s editing and streaming facilities.
“Spiritland is a huge operation in a small space with elements including hospitality, nightly DJ sets, radio broadcasts, live talks, a retail offering and more – and Audio-Technica are involved in every aspect,” said Spiritland’s artistic director Paul Noble. “They have been a fantastically supportive partner in this project.”
This article is originally from www.audiomediainternational.com
Please contact us for more information about Audio-Technica products.
State-of-the-Art Courtrooms Rely on Symetrix
Even in famously beautiful Paris, with its many architectural attractions, the Tribunal de Paris is an impressive addition. The stunning new complex covers more than 400,000 square meters (4.3 million square feet) of buildings on 106.25 acres of land, and brings together the core activities of the Parisian justice system, previously scattered across some 30 sites. Its centerpiece is a 40-story tower, 160 meters (525 feet) high, designed by architects at the Renzo Piano Building Workshop and featuring a cascade of terraces and a transparent glass base.
When completed-operations prior to occupancy commenced in February 2017-the eye-catching edifice will house, among other spaces, the 90 courtrooms of the Tribunal de Grande Instance (TGI), or Court of Justice. Fifty-five courtrooms are equipped with networked AV systems co-designed by Axente, Bouygues Energies & Services, and Audiovisuel Solutions, and based on Symetrix Prism DSPs.
“This was a big project because of the number of courtrooms,” observes Axente Director of Audio Alain Hercman. “Networking 55 courtrooms required 37 Symetrix Prism 4×4 DSPs, 18 Prism 8×8 DSPs, and 130 Attero Tech unDIO2x2 interfaces. Each courtroom is handling a different case, so we did not need to send audio or video between rooms, but all 55 AV systems are connected to the network at a central technical room, from which they are managed.”
To enable an efficient and manageable AV system in a big building where courtrooms are often located far from the technical room, the design team specified a Dante network. “Dante was the best solution,” Hercman confirms. “Dante allows us to easily move and control audio across long distances using fiber and CAT6 cables. And with Symetrix Prism DSPs and Attero Tech Dante interfaces, the Dante network is flexible, reliable, and easy to use.”
Recording capabilities and security are extremely important factors in a courtroom. “We need to keep things as confidential as possible, so there are rules that are very specific to a court of justice,” Hercman notes. “For example, the court has to be able to record to video and recall everything in case an advocate needs to prove that someone said something at a specific time. The video has to be secure yet easy to play back. So the installation has to meet certain standards.”
Although the 55 courtrooms are similar, they are not identical. “Some rooms can accommodate more attorneys than others, and some have secure boxes for the accused, with glass everywhere,” Hercman explains. “So we needed slightly different equipment in those spaces. But the way we use the Symetrix Prisms is basically the same in all rooms. Analog signals go to and from the unDIO2x2 boxes, which route Dante streams over CAT cable and fiber to and from the Prism DSPs.”
For Hercman, Symetrix was an obvious solution. “Symetrix is among the most famous brands in the category, and rightly so,” Hercman maintains. “They make very high quality products that are extremely reliable, which is essential in a courtroom situation. And they work great with Attero Tech unDIO2x2 interfaces, which are small and can be unobtrusively located and powered over Ethernet. That makes it easy to put a Dante connection wherever it’s needed.”
A long-time Symetrix user, Hercman appreciates its programming software. “We’ve used Symetrix DSPs in other projects, and we have found them easier to program than other DSPs,” he praises. “The Symetrix Prism has a very high quality engine. Since each courtroom system is used independently and has a different design, the programming of 55 different matrices for TGI should have been challenging and time consuming. But thanks to Symetrix Composer software with its logic-based processing modules, it proved to be fast and easy.”
Another major factor in choosing Symetrix was affordability. “With a project of this magnitude, involving big construction companies, pricing is very important because there are so many items to buy,” asserts Hercman. “Symetrix offered the right solution at an excellent price. Their products deliver the best value on the market.”
Hercman emphasizes that the TGI AV system was the result of a cooperative effort. “The integrator was Bouygues Energies & Services (BES) of Montigny le Bretonneux, and Audiovisuel Solutions (APE) of Nanterre was a subcontractor installer,” he specifies. “The studies, solutions, and designs were a collaboration between Axente, APE, and BES, which worked very well.”
The TGI project was special for the Axente/APE/BES team. Not only was it a large installation in a beautiful and soon-to-be-iconic building, but the new Court of Justice will be an important part of civic life in Paris. “It’s an important job in many ways,” agrees Hercman. “We are confident that everyone will be pleased with the AV system, and with Symetrix DSPs, the network will perform at a high level for many years.”
This article is originally from www.symetrix.co
Please contact us for more information on Symetrix 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
Symetrix once again recognized with dual Stellar Service Awards
Symetrix, creators of high-performance digital signal processing solutions, has once again been awarded two Stellar Service Awards for technical and sales support. This marks the third year in a row Symetrix has been lauded for their commitment to customer service and technical support.
This year’s Platinum award for Sales Support You Can Believe In (Best Sales Operation) was presented to Symetrix for excellence in sales and after-sales support, an auspicious following to last year’s Gold award in the same category.
Symetrix was also presented with the 2017 Gold Stellar Service Award for The Number You Have On Autodial (Best Tech Support), marking the third year in a row the company has been recognized for their continued dedication to providing their customers with the most exemplary technical support available.
Now in their fourth year, the Stellar Service Awards were established by Systems Contractor News to acknowledge excellence in customer care and satisfaction in the professional AV industry. Winners are selected based on readers’ votes, and further vetted by a panel of professional integrator and consultant judges.
Symetrix has long been an industry leader in customer support, backing their products with expertise in product selection and specification assistance, system design proofing, site file programming, and a wide range of additional services.
“It’s truly an honour and a privilege to be recognized once again this year with not just one, but two of these prestigious Stellar Service Awards,” remarked Ashley Kay, Director of Technical Resources. “Symetrix has always maintained the highest standard in supporting and standing behind our products. We see the results in our customers’ successes, and the acknowledgement of the professional AV integrator community we serve is the ultimate reward.”
This article is originally from www.pro-systems.co.za
Please contact us for more information on Symetrix products.
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.