Award winners will be announced Saturday, April 13, 2023, at The NAMM Show in Anaheim, California.
Genelec, the leader in active monitoring technology for over four decades, is proud to announce that it has been nominated for two Technical Excellence & Creativity (TEC) Awards. Genelec’s GLM 4.2 GRADE™ (Genelec Room Acoustic Data Evaluation) has been nominated for Outstanding Technical Achievement in the Production Essentials category, and the 6040R Smart Active Loudspeaker has been nominated for Outstanding Technical Achievement in the Studio Monitors category. The 38th annual TEC Awards will be held Saturday, April 13, 2023, at The NAMM Show in Anaheim, California. For invited members, voting in each category will begin on December 21 and end on March 1, 2023. Finalists from the 22 categories will be selected by industry professionals across major music, sound, and game audio associations, along with pro audio-focused media groups.
“It is a tremendous honor that our GLM 4.2 GRADE technology and our 6040R loudspeakers have been nominated by industry professionals for outstanding technical achievement. It is great to be recognized by our peers for the Genelec organization’s hard work, dedication and innovation, resulting in these tools being brought to the marketplace.”
Will Eggleston, Genelec Inc. Marketing Director
Presented annually by NAMM during The NAMM Show, The NAMM TEC Awards recognize the individuals, companies, and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media in Technical and Creative Achievement Categories. The Les Paul Award is given at the event in tribute to musical artists and others whose work has exemplified the creative application of audio technology. Through its Hall of Fame, The TEC Awards also honors the pioneers of audio technology and the music industry’s most accomplished producers and audio technicians. The NAMM Foundation’s TECnology Hall of Fame celebrates innovations and groundbreaking technical achievements of the past. For more information, visit www.tecawards.org
About Genelec GLM GRADE™:
GRADE™ (Genelec Room Acoustic Data Evaluation) is a powerful new reporting tool in GLM that creates a full analysis of room and monitoring system performance, revealing the information needed to effectively fine-tune acoustic treatment, adjust monitor and listener positioning, and optimize bass management.
About the Genelec 6040R Smart Active Loudspeaker:
Genelec’s two-way 6040R Smart Active Loudspeaker was introduced as the first model in its Signature Series. 20 years after the launch of the original 6040A, the newly re-imagined 6040R now features professional-grade LF drivers, proprietary Class D power amplifiers, and tight integration with our GLM calibration software. This allows the 6040R to deliver clean performance, a consistently smooth frequency response, precise imaging and low distortion – even in challenging acoustic environments. Created in conjunction with celebrated Finnish industrial designer Harri Koskinen, the floor-standing 6040R fuses the very best of Finnish technology and design, bringing exceptional performance and beautiful aesthetics to all lovers of high-quality audio.
ApexPro is the sole distributor of Genelec Professional products in Southern Africa.
ETC launched a new family of multi-venue fixtures. Building on the popular ColorSource line that is lighting schools, houses of worship, hotels, and theme parks around the world, ETC announced ColorSource V. This trio of fixtures includes ColorSource Spot V, ColorSource Fresnel V, and ColorSource Spot VXT.
The roman numeral “V” in ColorSource V hints at the five-color array of red, green, blue, indigo, and lime. This combination of emitters makes it possible to produce the softest pastels and bold, punchy colors from the same fixture. In addition to the array, all ColorSource V fixtures include Multiverse® wireless DMX/RDM, NFC for remote fixture configuration when used in collaboration with ETC’s free Set Light app, and increased brightness from the past ColorSource line.
ColorSource Spot V is shipping now and takes the place of the previous ColorSource Spot luminaire. Just like with Spot, ColorSource Spot V uses the same lens tubes, barrels, and accessories as ETC’s other spot fixtures, including the iconic Source Four incandescent fixture. If you have ETC’s CYC or Fresnel adapters in your inventory, Spot V works with those as well.
ColorSource Fresnel V delivers the technology of ETC’s premier Desire Fresnel fixture at an accessible price point. Incorporating a true microFresnel lens and motorized 13-44 degree zoom control both via DMX and manually from the back of the fixture from both the back of the fixture, Fresnel V is truly a workhorse for every theatre. ColorSource Fresnel V is expected to begin shipping in January of 2023.
ColorSource Spot VXT is the outdoor fixture you’ve been waiting for. With impressive brightness, and the same color mixing technology as the other ColorSource fixtures, this IP65-rated fixture brings the drama to your outdoor spaces. The same wireless feature set streamlines setup and configuration, but the best part is, VXT also utilizes the same lens tubes, barrels, and accessories as your other ETC spot fixtures.
ETC will begin taking orders for ColorSource Spot VXT in early 2023, and it is scheduled to begin shipping in late Q1, 2023.
Find out more about the Colorsource V family HERE.
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.
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.
ApexPro Managing Director, Justin Acers meets with Meyer Sound Director of Global Marketing, Tim Boot at Infocomm 2022, Las Vegas 2022
Last week, Meyer Sound premiered the new Panther large-format linear line array loudspeaker at it’s booth at InfoComm Show 2022, in Las Vegas.
Our managing director, Justin Acers, had the pleasure to meet with Meyer Sounds Director of Global Marketing, Tim Boot, to experience the power of the Panther firsthand!
“We are very excited to bring the Panther to the African market. No other line array comes close to matching PANTHER’s remarkable output of over 150 dB in such a compact cabinet. PANTHER delivers unrivaled linearity and headroom, only achievable with a self-powered system.” ApexPro technical director Mark Malherbe points out.
The recent Level 42 UK tour called on the versatility of Electro-Voice and Dynacord equipment to ensure that every audience had the best possible experience, no matter what kind of venue the band was performing in.
The British jazz-funk band toured with an Electro-Voice
The British jazz-funk band toured with an Electro-Voice X2 system as its main PA, driven by Dynacord TGX amplifiers with control from SONICUE sound system software.
The tour marked the first time that the band’s FOH engineer, Mark Clements, had moved away from Level 42’s usual equipment supplier for 25 years. However, the band had been working with Merlin PA on overseas and festival packages, and it became a natural move to tour the UK with the rental company too.
NEAL ALLEN, MERLIN PA’S
“The percussive and transient nature of Mark King’s style really shone through with the use of the X2’s 12” driver on the Mid Band Hydra.”
A further reason for the switch was to move to Electro-Voice’s X2 system, which Clements had heard several times. The solution’s size and form factor made it the perfect choice for a concert hall tour, but the technical qualities of the X2 also made it a strong choice for Level 42.
“The percussive and transient nature of Mark King’s style really shone through with the use of the X2’s 12” driver on the Mid Band Hydra,” explains Merlin PA’s Neal Allen. “That’s what the technology in the MBH allows you to deliver.”
The capabilities of the X12-128 dual-18” subwoofers were also an important factor for the performance. “This tour was one of the first where we consistently used a cardioid sub arrangement in almost every venue,” recalls Allen. “Due to the nature of the stage setup, some venues required a super-cardioid sub design, which dramatically cleaned up unwanted resonance onstage for Mark King.”
In addition to the X2 main PA, compact 8” two-way XLE cabinets were called into action to provide further support. “XLE was required to provide extra intelligibility and consistency,” says Allen. “This was particularly important at Sheffield City Hall, which is a notoriously tricky venue to contain with a full house when you need to cover all three floors.”
A further aspect that enhanced the tour was the Dynacord electronics and software that drove every performance. “TGX amplifiers and SONICUE sound system software provided the backbone power to the Electro-Voice system,” notes Allen. “The intuitive nature of SONICUE enabled us to make effortless on-the-fly changes at different locations, while also providing an overall picture of all aspects of the system.”
