Dynacord SONICUE 1.2.4 Sound System Software has been released. It supports the upcoming Dynacord WPN1 networked wall panel controller, offers operational parameters for IPX and TGX amplifiers for designing control panels in SONICUE’s panel designer, and comes with new MXE logic featuring an active HTTP API, a scheduler function and other enhancements.
In October Dynacord will release the WPN1 networked wall panel controller. It provides simplified operation and control of devices within the SONICUE ecosystem. With its 1.77” TFT color display and rotary encoder it can control MXE5 Matrix Mix Engines or IPX amplifiers system-wide. Configuration in SONICUE’s panel designer provides dedicated customization, from volume control in a single zone to multi-zone control with individual pin-protected menus. Combined with the color display and support of characters for local languages, the WPN1 provides a customization level close to a touch panel controller, ensuring that users can interact effectively with their system.
George Relles Sound Brings Six Generations of Meyer Sound Technology to Exquisite Hillside Pavilion
Photo: Matt Honnies
George Relles first brought Meyer Sound MSL-3 loudspeakers to the Britt Pavilion in 1986, and in 2022 he flew his new PANTHER large-format linear line array loudspeakers in the wooden shell on the verdant Southern Oregon hillside. In the years between, George Relles Sound introduced four other generations of Meyer Sound technology in the same venue, adding up to 36 unbroken years of Meyer Sound systems at the summer-long Britt Music and Arts Festival.
“I’ve always wanted to have a gold-standard PA system at the Britt,” says Relles, “because it’s a wonderful venue to show off a PA. For decades I’ve been in on the ground floor of the newest Meyer Sound loudspeaker systems, and this is where I bring them first.”
Although a smaller pavilion — 2,200 total capacity with 949 reserved seats — in a secondary market, the idyllic location, mild summer weather, and top-notch sound have made “the Britt” a favorite among touring artists. In addition to a three-week classical series, the 2022 schedule of 28 pop concerts includes, among the others, ZZ Top, Norah Jones, Bonnie Raitt, and Chicago.
The new PANTHER line array system arrived in early July, with the transition from the prior LEO Family system taking place only a couple of days later, just ahead of the Jason Mraz show.
“It was a tight schedule for bringing online a system I had never heard before anywhere,” says Relles, who serves as systems tech for nearly all shows. “But I was confident in the results, and it tuned up very easily. I used maybe one U-shaped filter and a couple parametrics, and that was it. One FOH engineer told me it really sounded great, and that I must have spent a lot of time tuning it. ‘No,’ I said, ‘only about an hour, with just fifteen minutes for EQ and the rest for timing front fills with the arrays.’”
Though the LEO Family system had earned kudos for years, Relles says PANTHER has moved the sound up a notch. “It definitely penetrates more consistently up the hill. It is also a much bigger sound, with a really tight low end filling out the sub area.”
The venue’s production director, Derek Cole, agrees. “There’s nothing I don’t love about the new PANTHER rig. I like the look of it, and from walking around I know there’s not a bad seat anywhere, all the way back to the picnic tables 120 yards from the stage. Also, word is out to the bands, and some like Dark Star Orchestra have told me they are excited about using it.”
Mike Sturgill has been with the Britt Festival of Music and Arts for more than 30 years, overseeing production and booking the venue since 1995. “Over the last few years, I’ve had engineers tell me our LEO Family system was the best rig they had mixed on all summer, and I fully expect that will continue with PANTHER. It’s a PA that will carry us a long way into the future.
“There’s no question that George and his Meyer Sound systems have been integral to our success,” Sturgill continues. “George cares about everything, he pays attention to details, he helps mixers get the most out of the systems, and he anticipates problems before they happen. We don’t have to worry about the sound here at Britt, ever.”
Relles has been the exclusive sound provider for the Britt Music and Arts Festival since 1981 and later acquired six Meyer Sound MSL-3 loudspeaker systems in 1986. Relles immediately bought two more systems, bringing all eight to the Britt later that year — then doubling the count to 16 the following year.
Over the decades, Relles continually upgraded to the newest Meyer Sound systems in the first year of introduction: the self-powered MSL-4 in 1995, M2D line array in 2002, MICA line array in 2005, and a LEO Family system (LYON and LEOPARD) in 2015.
“Because I’m a hands-on owner-operator, I really care about the products I use,” he says. “I design the system and tune it myself, and I want to make sure it’s an easy day for the visiting engineers. I’ve worked with some touring engineers who have a reputation for chewing up system techs, and they’ve told me that every time they come here it sounds great.”
In addition to the unbroken string of Meyer Sound systems, Relles’ longevity at the Britt Pavilion also is attributable to his selection of front-end gear, including an SSL L500 mixing console and a collection of microphones for classical and acoustic music encompassing 40 Schoeps models and 50 DPA miniature clip-on condensers. Relles mixes the classical concert series himself, and he also mixes most opening acts of the pop series.
Established in 1963 exclusively for classical concerts, the non-profit Britt Festival of Music and Arts expanded with a pop series in the 1980s. A sampling of acts heard through Meyer Sound systems over the years would include Diana Ross, Ziggy Marley, Willie Nelson, Robert Plant, Joan Baez, Steve Miller, Bob Weir and Ratdog, and Wynton Marsalis. The Britt Pavilion is located in the historic former mining town of Jacksonville, Oregon.
Rave Reviews Reflect the Impeccable Sound Quality at Indoor and Outdoor Stages
Scène TD main stageThe RootsScène TD main stage
The Montréal International Jazz Festival roared back to life in 2022, reinforcing its distinction as the largest jazz festival in the world. With 350 concerts scheduled over 10 days — two-thirds of them free — the festival once again drew audiences numbering in the hundreds of thousands to downtown Montréal, where AVL supplier Solotech had equipped eight indoor and outdoor stages — including the Scène TD main stage — with Meyer Sound reinforcement systems.
The exotic blend of performances by global acts earned rave press reviews, in particular for the closing act, The Roots, at Scène TD.
“The Roots demonstrated why they continue to be known as one of the best live acts on the planet,” wrote the Montréal Gazette, also noting that “the tens upon tens of thousands that swarmed an absurdly packed Place des Festivals…were in for a heckuva show.” Canadian Beats concurred, noting “The Roots delivered a true masterclass in hip-hop, funk, soul, and jazz, a cluster of genres perfect to close the festival.”
The resounding success of audio at this year’s Montréal International Jazz Festival can be credited to the work of Festival Technical Coordinator Dan Meier and his team from L’Equipe Spectra. Meyer Sound and Solotech worked closely with Meier and his team to develop and deploy the sonic experiences at the festival.
The enthusiastic response came as no surprise to Director of R&D and Technological Solutions David Brazeau, who was responsible for overall supervision of AVL systems on behalf of Solotech. “We’ve heard only great reviews on the performances from people who were there and from the media. There was no particular mention of the sound, but then the whole idea is to make the reinforcement transparent, so it’s not noticed. When the sound is perfect you don’t hear anything about it!”
The Scène TD stage system comprised main front arrays of nine per side LEO linear line array loudspeakers, with focused low end from end-fire arrays of six per side 1100‑LFC low-frequency control elements. Front fills were MICA line array loudspeakers, with MSL-4 loudspeakers as out fills. First delay was two arrays of six MICA loudspeakers augmented by six 900‑LFC elements in cardioid configuration, with pairs of CAL 64 and CAL 32 beam-steering column array loudspeakers supplying highly directional sound for the second and third delays. The VIP section was covered by four M1D line array loudspeakers.
Other acts energizing the overflow crowds at Scène TD included Lee Fields, Bran Van 3000, and Clay & Friends.
Meyer Sound systems also supplied reinforcement at several indoor venues hosting well-known performers. A MINA line array system was deployed at Maisonneuve Theatre for, among others, Al Di Meola, Manhattan Transfer, and Pat Metheny. At Montréal Symphony House, Meyer Sound JM‑1P, UPA-1P, and UPQ-1P loudspeakers supported Gregory Porter, Ludovico Einaudi, and Ravi Coltrane, while at Monument-National Tommy Emmanuel, Christian McBride, Dee Dee Bridgewater, and Bill Charlap were heard through UPQ-1P, UPA-1P, and veteran UPA-1C loudspeakers coupled with 700-HP subwoofers.
Other outdoor stages equipped with Meyer Sound systems were Rio Tinto, Club Montréal, Stage Loto-Quebec, and Pub La Traversée Molson Export.
Solotech has been an integral part of the Montréal International Jazz Festival for as far back as Brazeau can remember. “I’ve been with Solotech for 25 years and we were supplying systems back then,” he says. “We are much more than a rental house, but really a full partner, one part of a team that for many years has included our key trusted suppliers, including Meyer Sound.
“Meyer Sound always has been a go-to partner for the festival,” Brazeau continues. “Whenever we have an issue of any kind, they jump right on it and give us full support. David Vincent of Meyer Sound tech support here in Canada helps us out every year, collaborating with our team on system designs.”
This year, Vincent and the Solotech team made full use of Meyer Sound’s MAPP 3D prediction software, which proved an essential tool in shaping coverage to fit the venues without excessive bleed into adjacent part of the city center. “They worked hard to focus the energy down on the crowds, and they have been very successful in doing that thanks to MAPP 3D and our deep inventory of Meyer Sound loudspeakers,” notes Brazeau. Launched in 1980, the Montréal International Jazz Festival is the premier event of its kind in North America, and with the strong resurgence in 2022, the festival can reassert its claim to the title of “world’s largest jazz festival” as previously awarded by the Guinness Book of World Records. With annual attendance of over 2 million, the festival is not only the largest jazz festival but one of the largest music festivals in the world.
Rave Reviews Reflect the Impeccable Sound Quality at Indoor and Outdoor Stages
Scène TD main stageThe RootsScène TD main stage
The Montréal International Jazz Festival roared back to life in 2022, reinforcing its distinction as the largest jazz festival in the world. With 350 concerts scheduled over 10 days — two-thirds of them free — the festival once again drew audiences numbering in the hundreds of thousands to downtown Montréal, where AVL supplier Solotech had equipped eight indoor and outdoor stages — including the Scène TD main stage — with Meyer Sound reinforcement systems.
The exotic blend of performances by global acts earned rave press reviews, in particular for the closing act, The Roots, at Scène TD.
“The Roots demonstrated why they continue to be known as one of the best live acts on the planet,” wrote the Montréal Gazette, also noting that “the tens upon tens of thousands that swarmed an absurdly packed Place des Festivals…were in for a heckuva show.” Canadian Beats concurred, noting “The Roots delivered a true masterclass in hip-hop, funk, soul, and jazz, a cluster of genres perfect to close the festival.”
The resounding success of audio at this year’s Montréal International Jazz Festival can be credited to the work of Festival Technical Coordinator Dan Meier and his team from L’Equipe Spectra. Meyer Sound and Solotech worked closely with Meier and his team to develop and deploy the sonic experiences at the festival.
The enthusiastic response came as no surprise to Director of R&D and Technological Solutions David Brazeau, who was responsible for overall supervision of AVL systems on behalf of Solotech. “We’ve heard only great reviews on the performances from people who were there and from the media. There was no particular mention of the sound, but then the whole idea is to make the reinforcement transparent, so it’s not noticed. When the sound is perfect you don’t hear anything about it!”
The Scène TD stage system comprised main front arrays of nine per side LEO linear line array loudspeakers, with focused low end from end-fire arrays of six per side 1100‑LFC low-frequency control elements. Front fills were MICA line array loudspeakers, with MSL-4 loudspeakers as out fills. First delay was two arrays of six MICA loudspeakers augmented by six 900‑LFC elements in cardioid configuration, with pairs of CAL 64 and CAL 32 beam-steering column array loudspeakers supplying highly directional sound for the second and third delays. The VIP section was covered by four M1D line array loudspeakers.
Other acts energizing the overflow crowds at Scène TD included Lee Fields, Bran Van 3000, and Clay & Friends.
Meyer Sound systems also supplied reinforcement at several indoor venues hosting well-known performers. A MINA line array system was deployed at Maisonneuve Theatre for, among others, Al Di Meola, Manhattan Transfer, and Pat Metheny. At Montréal Symphony House, Meyer Sound JM‑1P, UPA-1P, and UPQ-1P loudspeakers supported Gregory Porter, Ludovico Einaudi, and Ravi Coltrane, while at Monument-National Tommy Emmanuel, Christian McBride, Dee Dee Bridgewater, and Bill Charlap were heard through UPQ-1P, UPA-1P, and veteran UPA-1C loudspeakers coupled with 700-HP subwoofers.
Other outdoor stages equipped with Meyer Sound systems were Rio Tinto, Club Montréal, Stage Loto-Quebec, and Pub La Traversée Molson Export.
Solotech has been an integral part of the Montréal International Jazz Festival for as far back as Brazeau can remember. “I’ve been with Solotech for 25 years and we were supplying systems back then,” he says. “We are much more than a rental house, but really a full partner, one part of a team that for many years has included our key trusted suppliers, including Meyer Sound.
“Meyer Sound always has been a go-to partner for the festival,” Brazeau continues. “Whenever we have an issue of any kind, they jump right on it and give us full support. David Vincent of Meyer Sound tech support here in Canada helps us out every year, collaborating with our team on system designs.”
This year, Vincent and the Solotech team made full use of Meyer Sound’s MAPP 3D prediction software, which proved an essential tool in shaping coverage to fit the venues without excessive bleed into adjacent part of the city center. “They worked hard to focus the energy down on the crowds, and they have been very successful in doing that thanks to MAPP 3D and our deep inventory of Meyer Sound loudspeakers,” notes Brazeau. Launched in 1980, the Montréal International Jazz Festival is the premier event of its kind in North America, and with the strong resurgence in 2022, the festival can reassert its claim to the title of “world’s largest jazz festival” as previously awarded by the Guinness Book of World Records. With annual attendance of over 2 million, the festival is not only the largest jazz festival but one of the largest music festivals in the world.
ApexPro is proud to announce its partnership with leading professional audio technology manufacturer, HH Electronics.
A Legacy Partnership
ApexPro, a leading distributor of professional audiovisual equipment for the sub-Saharan African region, has recently cemented a partnership with UK-based HH Electronics, a leading manufacturer of professional audio from within the Headstock Group, UK.
“We are extremely excited about our partnership with HH Electronics,” says ApexPro Director, Justin Acres. “The entertainment, tourism, and live events sectors in Southern Africa are poised for a much-needed comeback following the restrictions on business imposed by the Covid-19 pandemic. As new venues open, and those that survived the lockdowns look to attract new patrons, the demand for high-quality, low-cost, expandable professional audio systems is on the rise. We can’t think of a better manufacturer to fill this gap than UK-based HH Electronics.”
Technical Director at ApexPro, Mark Malherbe concurs, stating that: “The iconic 1984 Concert in the Park was powered by HH Electronic power amps, a gig I remember well. HH Electronics has a much-deserved reputation, established over more than half a century, for innovation, excellence, and affordability across its product range. The systems designed and engineered by the HH Electronics team are ideal for our market, and I am confident that our clients will agree.”
More About HH Electronics
HH Electronics was established in 1968, by Mike Harrison, an electronic engineer who identified a gap in the market for solid-state amplifiers for the then rapidly expanding TV broadcast network market. Under Harrison’s leadership, HH Electronics sold its iconic TPA amplifier to nearly every TV studio across the UK as well as to many recording studios in the late 1960s and early 1970s. In 1970, the BBC published stringent requirements for a new amplifier, and HH Electronics responded with the AM 812 Amplifier, which became a global standard for broadcast corporations for decades to come.
At the same time, the live music industry was exploding across the world, providing greater opportunities for innovation in live sound for mega concerts. HH Electronics broadened its scope by creating solid-state guitar and bass amplifiers, and PA systems. The company was soon recognized by artists, including the incomparable Pink Floyd, for creating lightweight, low-cost, expandable systems that were every bit as good as a tailor-made rig but at a fraction of the cost.
In 1989, HH Electronics became a part of the Headstock Group, a leading manufacturer and distributor of musical equipment and professional audio products in the UK and Ireland. HH Electronics is currently focused on two key areas, according to James Laney, CEO of the Headstock group. “Our emphasis today and into the future is line array and portable PA for live sound, and professional audio solutions of the installation market.”
HH Electronics Cements Its Footprint in the African Market with ApexPro
Ian Wright, International Sales Director for the Headstock Group stated: “We are extremely happy to be announcing this new relationship with ApexPro and we look forward to working closely with them as they develop the HH brand within the African market. Apex Pro has a long history in the African Pro Audio industry with an understanding of all vertical markets. They are truly a wonderful company that provides great service, support, and training, and their knowledgeable staff is equipped to handle the most challenging of projects thrown at them. We are proud to be working with them and alongside the other quality brands they represent, and we are excited about the future and all that we can achieve together. A long-term solid relationship has begun and we wish them all the very best.”
“HH Electronics, under the Headstock Group, offers high-quality, low-cost professional audio solutions that are ideally suited for installations in the sub-Saharan region. We have every confidence that bringing HH Electronics’ products to venues across the region will provide just the right balance of quality, durability, and affordability that our customer base deserves.” Justin concludes.
Any event at Inglewood’s SoFi stadium is likely to be upstaged by the venue itself. Along with the Walt Disney Concert Hall and the Hollywood Bowl, SoFi stadium’s place in Southern California iconography is assured. Site of the Super Bowl LVI (sorry Bengals fans) seen by millions around the world, it is arguably the pinnacle of stadium design. The superlatives are in the numbers: 70,000 seat capacity, 302 FTE roof panels containing 28,000 LED “pucks,” a 360-degree infinity screen, and 25,000 miles of cabling all set in a grade 100 feet below ground level. Passengers flying into LAX can view games or concerts projected on to the 80-million-pixel roof. But no less impressive is the ETC control system that keeps it all running.
The Body of SoFi
“The end-users’ journey through the stadium had to be considered on both game and non-game days, with attention paid to enhance memorable views and ‘Instagrammable’ moments along the way,” says Stacie Dinwiddy, Associate Principal at KGM Architectural Lighting, who handled the indoor hospitality area lighting. “We found ourselves addressing new and unique challenges as we navigated to complete a project of this scale during an international pandemic and lockdown, for a building and program originally designed for mass gatherings and public displays of face and body paint.”
To enhance the experience and promote movement around the concourse, KGM worked closely with a custom manufacturer to design a ribbon-like LED feature pendant that could twist and glow like neon to reflect a meandering path throughout the entire concourse. Another integrated installation that was thoroughly engineered is within the entrance corridors leading to the Owner’s Club. The original design was a continuous linear line of light that went up one wall, across the ceiling, and down the opposite wall. “To shake up a popular detail, we opted to offset the lines at the wall to create a more dynamic effect through the corridor and allude to the laces on a football – a theme carried out in many areas on the project,” she added.
LAM Partners’ James Perry describes the task of lighting the exterior of the massive structure. “The field of play is certainly the primary focus of the project, but the overall stadium was envisioned as a living, organic form that could pulse with activity and motion from the field all the way out to the exterior skin of the building. The lighting design and controls were a part of the story-telling of the architecture and the NFL excitement within.”
Of the many firsts attributed to this project Perry notes, “The LED media mesh that is draped across the clear membrane roof canopy was a first as far as we know. The entire roof and fifth elevation of the building becomes a large video board. But the interesting design challenge was achieving this for the exterior view of the building without impacting the environment or event within the stadium bowl below. None of that lighting is visible when ‘on’ from within the seating bowl.”
The Brain of SoFi
Providing the often overlooked but critical component of control went to 4Wall Entertainment, who integrated all the ETC control elements which form the backbone of this impressive project. Buddy Pope and Brent Pritchett headed up the team that linked it all together. “Every single light that turns on and off we controlled via Paradigm – restrooms, locker rooms, offices, concourses, exterior lighting, and even the signage a few blocks away are controlled by ETC Paradigm,” says Pope.
On the entertainment side, Mosaic Show Controller X and an Eos console control the sports lighting and color-changing lights throughout the venue. No stranger to huge installations, Pope notes that “a big challenge was the sheer length of data and DMX runs – the equipment list is short but has big numbers.”
To comply with California Title 24 rules, over 1200 Paradigm occupancy sensors are everywhere, but the Paradigm system easily dealt with any customization. “We were able to tweak the Paradigm advanced controls to make overrides,” says Pope. “The lights never go out in the Rams’ locker room during a game, for example.”
Not surprisingly, the sequence of operations for the building was extensive and called out for specific looks. The Paradigm system stores not only game and concert modes building-wide, but campus-wide. A Mosaic controls all the signage on the campus, color changing and white light controls as well as a retail section that is under construction. Even the landscape lighting has its own distinct presets.
Not even the restraints of COVID protocols and supply chain holdups during the construction cycle, could hold up the creation of this truly remarkable addition to LA’s sport and cultural life.
