5 Dec, 2019 | Dynacord, Electro-Voice
Nestled on the shores of West Okoboji Lake in the heart of the Iowa
Great Lakes resort region, Historic Arnolds Park has been a major
vacation attraction in the Midwest since the 1800s. The park was
renowned for its Roof Garden Ballroom, a large dance hall that attracted
such artists as Jerry Lee Lewis, Johnny Cash, The Guess Who, the Glenn
Miller Orchestra and many others during its heyday from 1923 to 1988.
Today, it operates as a non-profit attraction to benefit the community.
On
August 2, the new Roof Garden Ballroom reopened as a 1200-capacity
multipurpose venue, with an authentic vintage look buoyed by a
thoroughly modern sound system – Electro-Voice X-Line Advance X2
line-array loudspeakers powered by Dynacord IPX series DSP amplifiers.
The system enabled the park to celebrate its history with a series of
concert events featuring artists who played at the original venue. Tommy
James & The Shondells had the honor of headlining the first concert
in the redesigned Roof Garden Ballroom.
“Tommy James played the
original Roof Garden six times going back to 1966, so they were the
perfect act to open the new building,” notes Jeff Vierkant, CEO of
Historic Arnolds Park. “It was a packed house. They put on a fantastic
show, and the sound quality was incredible.”
Designed and
installed by NLFX Professional (Bemidji, MN), the all-Electro-Voice
loudspeaker system consists of twin eight-box X2-212 line arrays, with
five 90-degree enclosures flown above three 120-degree versions. Low
frequencies are supplied via six X12/128 dual-18” subwoofers. A set of
four Fri-28LPM line the stage lip as front fills, ensuring full coverage
in every seat.
Three Dynacord IPX20:4 DSP amplifiers drive the
rig, with each capable of supplying up to 20 kW of power. These
intelligent amplifiers also provide a built-in OMNEO/Dante interface for
networking the system, plus FIR-Drive and additional system DSP for
easy centralized control of the entire sound system. The entire system
is controlled from a laptop via IRIS-Net software. Handy presets make it
easy to operate the system while still affording the advanced control
that touring engineers prefer.
According to John Lynch, FOH
engineer for Tommy James and the Shondells, the Electro-Voice system was
outstanding. “This was a really nice rig – really smooth, with tons of
headroom,” he reports. “We run an old school rock ’n’ roll stage, with
classic guitar amps and no in-ears. The EV system had the punch to get
over that easily, yet with excellent clarity. And the subs are amazing.
We were moving a lot of air – shook all the dust out of that room!”
The
band’s monitor engineer, John Melasippo, had access to the venue’s new
stage system, also courtesy of Electro-Voice. Available speakers include
10 Xw15A 15” floor wedges, with three Dynacord IPX10:8 DSP amps
providing power along with network connectivity. One ETX-18SP powered
subwoofer is also available as a drum monitor.
“We couldn’t have
done this without NLFX Professional, who did a fantastic job,” notes
Arnolds CEO Jeff Vierkant. “Ben Stowe really made sure we were well
taken care of. He designed a system that sounds fantastic from every
seat in the house. He also trained our local sound engineers on the
system, and got it all installed and perfectly tuned on our short
timeline. Great company.”
For Historic Arnolds Park, the
re-opening of the Roof Garden with the X-Line Advance system marks the
return of a classic venue that meets the needs of top-level talent to
play amid the natural beauty of northwest Iowa. “From the opening
number, the crowd was happy, the band was happy, and Tommy was happy,”
adds John Lynch. “That’s what’s important. The sound system is a big
part of that, and the EV rig helped make for a very smooth day.”
4 Dec, 2019 | Symetrix
Arvada began as a small town about seven miles northwest of Denver,
less than six years before Colorado attained statehood in 1876.
Incorporated in 1904, it once claimed the title of “Celery Capital of
the World.” Today, Arvada is a thriving commuter suburb of 112,000
people. The Arvada Presbyterian Church goes back to Arvada’s early
years, beginning in 1904 with a congregation of 14. Its current main
building was dedicated in 1916, making it the second-oldest church
building in Arvada. An education wing was added in 1952. As of 2016, the
church boasted a congregation of 245 members.
Services are mostly traditional and feature a 20- to 30-voice choir. During the summer, the choir takes a break, and three to five praise singers lead worship. An electronic keyboard and an assortment of microphones are obvious concessions to modern technology. But behind the scenes, a state-of-the-art Symetrix Prism 12×12 DSP manages the church’s sound system, offering auto-mixing with a simple user interface, with access to deeper features when needed.
“The Arvada Presbyterian Church leaders developed their sound system over the years, as technology changed,” relates Dave Kistler, president of systems integrators Equalized Productions, which designed and installed the Symetrix system. “Their old system, which used an analog mixer, was being run by high school students. When the students went to college, two members of the congregation ran the system, which was okay until those two gentlemen retired and began traveling more often. So the church asked us to design a sound system that was completely automated and could be set up for a few different scenarios, using presets, so it would sound good without requiring somebody who’s knowledgeable about audio. They wanted access to the back end, with the EQs and limiters, but they don’t intend to mess with that for the most part. And they wanted a system that could be quickly and easily reset to its standard settings. Symetrix’ Prism DSP and SymVue software enabled us to provide all of that.”
The flow of the sound system is fairly straightforward. The church has an assortment of handheld and lapel wireless microphones, the lectern mic, choir microphones (pencil condensers), and wired mics for the praise singers, plus the electronic keyboard. All told, the system uses about 20 audio channels, so the Symetrix Prism 12×12 is connected via Dante to a Symetrix xIn 12 analog input expander, for a total of 24 analog inputs, leaving room for growth. The Prism’s analog outputs feed the church’s older Crown and QSC amplifiers, which in turn drive QSC speakers in the sanctuary and Atlas in-ceiling speakers in the lobby.
“After analyzing everything, we decided to leave the existing speaker
and amplification system intact because it was robust enough and
complemented the facility,” recalls Kistler. “That enabled us to avoid
acoustical treatment. So the main item was the Symetrix Prism. We also
added Slade power sequencing, so they can turn everything on and off
from the booth, and we put an amp rack in the back room. They had
traditional two- or three-gang faceplate floor boxes and had problems
with people breaking the mic connectors, so we installed recessed floor
boxes.”
For easy and intuitive control, the Equalized Productions team
provided a Dell touchscreen PC running Symetrix SymVue software. “They
log into their computer, launch the application, and enter in a
four-digit PIN for security purposes,” Kistler details. “That brings up a
screen that allows them to go into the front-of-house mixer, the stage
floor-monitor mixer, and the choir monitor mixer, each of which is
independently mixed in the Symetrix Prism using the touchscreen. Preset
buttons call up the different situations they’ll encounter. For example,
there’s a preset for the school year, when the choir is performing, and
another preset for the summer, when the praise singers are performing
with handheld, wired mics.”
Symetrix DSPs are Equalized Productions’ regular go-to systems, and
the Prism proved an excellent choice for Arvada Presbyterian Church. “We
choose Symetrix primarily for the ease of programming,” Kistler
explains. “It just makes sense. SymView was the key component that
allowed us to go into the mixer and control everything. Creating the
back end is so much simpler than with other DSPs. With Symetrix, I can
clean up the console, so when the client launches the virtual mixers,
everything is simple. I can get rid of the Solo button, the Level
button, and anything else they might hit that could mess things up. We
label the mixers with the channel number that is associated with the
floor box, and we create labels that makes sense to them, like ‘This is
Pastor Bill’s mic.’”
Kistler’s team used SymView to enable the client to log into the
mixing console, mix as they wish, and then reset the system with one
preset. “They also have an Admin console where they can adjust the EQs,
limiting, gating, and so on,” Kistler adds. “They didn’t want to control
all that stuff but they wanted to be able to see it. So they have two
separate SymViews that they can log into: One is for regular control and
one is Admin.”
By doing all mixing and processing in the Prism, Equalized
Productions was able to remove not only the old analog mixer but old
rackmount gear, such as graphic EQs. “We took 32 spaces of equipment
down to 2,” Kistler details. “Overall the new system looks simple and
appealing. During training, they wanted us to demonstrate messing the
entire mix up and then resetting the system to get back to safety. The
way we programmed the Symetrix system, they hit one preset button, and
that happens. They loved it; they were raving about it. That’s what’s
great about the Symetrix system.”
3 Dec, 2019 | ETC
As one of this year’s most anticipated Broadway musicals, Moulin Rouge! The Musical has captured the hearts of critics and audiences alike. Its remarkable performances and production design combine to create a truly extravagant experience thanks to the talent on and off the stage—and, in part, to the power of Eos.
“ETC’s
products are why we can make this show happen,” explains Lighting
Designer Justin Townsend, “There is just so much data—nothing else could
have driven the show.” Most people are familiar with
the 2001 motion picture, a stylistic spectacle from the mind of Baz
Luhrmann, so it was important to the musical’s creative team to make
something that both honored the film and stood out for itself. “We
didn’t want to just recreate the movie,” Townsend said,
“but try to create a live Moulin Rouge experience.” The
over-the-top scenery by set designer Derek McLane was matched by
Townsend’s equally dazzling lighting design. “It needed to be bold,
nimble, striking, rococo,” he explained, “And I’m tickled we
were able to have such huge resources put into set electrics to make it
happen. All around – we put the pedal down on all fronts in order to
create something that could really sparkle and be unique.” With nearly
200 moving lights in the rig, LEDs, LED neon,
actual neon, thousands of lightbulbs, and a huge amount of power in the
footlights, the show required a control system that was up to the task.
The answer was Eos.
“Any given show might have one really tricky element,” explains Lighting Programmer Brad Gray, “whether it’s pixel mapping, heavy on effects, or lots of discrete timing … this show was a combination of all the hard parts of every show I’ve done before.” As the flagship Eos family console from ETC, the Eos Ti provided enough versatility to program the complicated effects as well as the capacity to reliably control thousands and thousands of parameters in the rig.
One
of the major advantages of the Eos software for Townsend and Gray was
the ability to create a variety of Magic Sheets. Gray created 10 magic
sheets that all interacted with each other—an enormous
undertaking that included 6,000 channels. But once built, Townsend
could then easily interact with the plots. “This was very exciting work
we did. With the magic sheets and touchscreen monitors, it’s like we
made our own app for the Moulin Rouge,” Townsend
said. Gray adds, “One of the best parts about the Eos platform is that
it’s so, so designer friendly. They can give direction and not worry
about commands—it’s very conducive to how most designers work.”
The result is in the reviews—Moulin Rouge! The Musical opened on July 25, 2019 at the Al Hirschfeld Theatre on Broadway to overwhelmingly excellent reviews. ETC is proud to know that it continues to provide creative professionals the tools they need to translate their art to the stage without compromise. “I don’t see myself moving away from the Eos anytime soon,” Brad explained. Brad isn’t alone – Eos is currently the preferred platform for 27 Broadway productions.
29 Nov, 2019 | ETC, High End Systems
At the LDI 2019 exhibition, High End Systems will
introduce the new SolaHyBeam 3000 automated fixture. With a feature set
designed for beam control, aerial effects and raw power, the flagship luminaire
has all the elements to cut through the haze and shine brilliantly in the
world’s largest venues. Powered by an exceptionally efficient White Light LED
engine, SolaHyBeam 3000 features a large front aperture and optimized long
throw optics for superior light output throughout the fixture’s wide zoom
range.
Automated Lighting Product Manager Matt Stoner
commented, “We are so excited to have the SolaHyBeam 3000 added to our family
of ultra-powerful premium quality fixtures. The SolaHyBeam 3000 specializes in
a fantastic narrow 3.1 degree beam, turning its massive output and dazzling
front lens into a powerful narrow beam. Whether used as a long throw front
light (yes it has framing shutters) or for shining dazzling aerials across your
rig, SolaHyBeam 3000 is a beam light unlike any other, a wash light with punch
and versatility, and so much more. We can’t wait to see this fixture burning
the skies on festivals and tours around the world!”
HES General Manager Becky Koester added, “Our
development and product management teams did an exceptional job on defining and
pioneering the narrow beam capability and unique lens effect that offer a
unique tool set for designers and end-users. The SolaHybeam 3000 addresses a
universal segment of the market that has been dormant the past several years.
The early product previews have been remarkable.”
An ETC Company, High End Systems is a leading
manufacturer of LED automated lighting and control products for the
entertainment industry. For more information on High End Systems, visit
highend.com. To learn more about SolaHyBeam 3000, visit highend.com/products/lighting/solahybeam.
25 Nov, 2019 | Symetrix
A part of the Reformed Church in America, the New Life Community
Church has been a member of the Artesia/Cerritos community in southeast
Los Angeles County for more than 80 years. Most of the buildings on its
current nine-acre campus were built in 1972, including a 620-seat
Worship Center that hosts services, concerts, and other functions. With a
stage ramp, single-level entry, a green room, and areas for props and
wardrobe, the Worship Center is well equipped.
Recently, the Worship Center received a major remodel and technical
upgrade, enabling the congregation to enjoy a more contemporary sound
and look. The previously raked floor was filled in to achieve a
flat-floor design, and new infrastructure was installed, including floor
boxes, power locations, CAT5 cabling, mic and monitor lines, and more.
To top it off, systems integrators TechArts of nearby Cypress,
California, designed and installed a new Dante-enabled sound system
based on a Symetrix Prism 12×12 DSP.
“The original install had two older Symetrix Express 8×8 DSPs, which
used CobraNet,” begins TechArts programmer and associate designer Jason
Vandergrift. “The current Symetrix DSPs are so much more powerful that
we were able to replace both older units with one Symetrix Prism.”
One major goal of the upgrade was to improve the communications
system. “There was an existing party-line-type, analog communications
system that was part of the original install,” Vandergrift recalls. “It
was noisy, and nobody was happy with the way it sounded. Also, with that
type of system, everybody talks to everybody on Channel A or Channel B.
Using the Symetrix Prism, we were able to connect a bunch of Studio
Technologies 2×2 Dante audio communication devices to the network and
program individual, discrete routings between them. We built everything
into a mixing matrix in the Prism, and I programmed preset routings for
the church’s various needs.”
The biggest issue was communications between front-of-house and the
musicians onstage, but it was also important to provide flexible
communications between the music director, FOH, and other volunteers.
With the old system, there was no way for the music director to
communicate to the sound engineer and lyrics person if, say, the band
was going to skip a verse or a song, resulting in the wrong lyrics
appearing onscreen.
“We also needed a system that worked with the musicians’ in-ear
monitors and integrated with the talkback system they were already
using,” Vandergrift notes. “With a Dante-enabled console and comm
system, I could route the talkbacks into the comm system, managed with
the Prism. Now the person at FOH and whoever is running lyrics or the
video machine can talk directly to the music director and the production
crew. We can route the FOH engineer’s comm mic to all in-ear monitors
onstage. Unlike a regular talkback system, we have programmable, two-way
communication. And the FOH engineer doesn’t have to dig through layers
on a digital console to set up a PFL talkback.”
Routing everything through the Symetrix Prism also makes the talkback
system less vulnerable. “In churches, volunteers break stuff and don’t
even realize it,” avers Vandergrift. “Let’s say your talkback system is
running from the FOH console, on a utility layer deep in the desk that
nobody touches, and a volunteer recalls a mixer scene that doesn’t
include the talkback routing. The engineer who is visiting that week has
no idea that they’ve killed the talkback, and nobody can fix it. When
you run it all through a Symetrix DSP, which nobody touches, you can set
up a Symetrix ARC-WEB control system with a couple of presets for the
comm system-I create Symetrix presets for all of the audio stuff-and the
system will operate reliably.”
In addition to communications, the Prism handles the Worship Center’s
PA speakers and more. “With Dante, I wasn’t limited to the Prism’s
analog I/O,” Vandergrift observes. “Once audio was in the network, I set
up all sorts of static routes in and out of the Prism for various
purposes. For instance, I needed an ADC circuit for a broadcast mix
because when the pastor was speaking the volume was too low, and the
video volunteer didn’t understand how to set the volume. So I programmed
a solution in the Prism.”
A devoted, long-time Symetrix DSP user, Vandergrift has a deep
understanding of the products’ capabilities. “We use Symetrix on every
project that requires a DSP,” he confirms. “They sound great, they’re
inexpensive, and I can program them to do whatever we need. And they
have a crazy amount of horsepower: With just one Prism, you can manage
64 channels of audio. The Dante-enabled Prism DSP was key to our ability
to integrate the talkback and other audio systems at New Life Community
Church.”
22 Nov, 2019 | Symetrix
Symetrix has launched its Xio stage 4×4 Dante stage box, an
audio-over-IP system that installs in NEMA 8-inx8-inx4-in electrical
enclosures.
Four analogue microphone/line inputs and four line-level outputs
are provided, converting signals to and from Dante for transfer over
CAT5/6 cable from a stage or other source location to a Symetrix Radius
NX, Prism or Edge DSP.
24-bit, 48 kHz A/D/A converters and Neutrik XLR connectors, being powered by a PoE injector or PoE network switch.
Signals can be routed by a Symetrix DSP once on the Dante network
into multiple zones, with Symetrix Composer software enabling setup and
control from a Windows PC.
