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| Tannoy loudspeakers provide rock solid reinforcement |
| December 2010 |
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Tannoy loudspeakers provide rock solid reinforcement for the full spectrum of worship at Virginia's Cherrydale Baptist Church.
Founded in 1913 as an independent evangelical church in the Baptist tradition, Arlington's Cherrydale Baptist Church places a high value on offering their growing congregation a diverse program of traditional and contemporary services. "As it says in Romans 10:17 ‘faith comes by hearing and hearing by the word of God'," says Tim McGhee, Cherrydale's technology and facility manager. "Sound is the most important thing we do," he continues, "and we wanted to support the full spectrum of worship."
To that end, Cherrydale chose to install an audio system incorporating a comprehensive suite of Tannoy loudspeakers to meet their diverse needs for the reinforcement of speech, as well as various other sources. Including subtle enhancement of the church's state of the art Allen Digital Organ, as well as support for a variety of praise bands, which often include a full rhythm section and multiple vocalists.
Upgrading the audio system, however, was only a part of the $9.6 million renovation and expansion at Cherrydale, and the culmination of a project entitled ‘The Imagine Campaign', originally launched in 2003 and intended to expand the facility substantially, so that they might reach out, invite others to join their congregation, and actually have a place to put them.
Completed in April 2010, just in time for Easter services, the build was no small task, explains Ralph James, project manager of the campaign and a member of the Cherrydale congregation since 1947. "We took our previous sanctuary and knocked out both side walls. We bumped one side out 15 feet and enlarged the seating for the main floor and the balcony and put in a broadcast booth behind that. And on the other side we bumped it out 35 feet to make room for a new stage, the baptistery and changing rooms."
Given the extent their musical program, Cherrydale's primary goals were to achieve maximum intelligibility and comprehensive coverage throughout the expanded 580-capacity sanctuary, as well as in various other areas attached to it. But the overall look of the sanctuary was also a dominant concern, says John Rossman, Project Manager for Baltimore-based integrator/installer, Design & Integration Inc., who first became involved in the project in August 2009. "Aesthetics were a very high priority from the inception of the project and from the architect on down. They didn't want to see any of the A/V equipment, so the speakers had to be as small as possible so that they wouldn't be obtrusive."
The idea was to improve on not only the sound of the previous sanctuary, but to disguise the audio infrastructure entirely, creating a solution that offered high impact sound quality but a very low impact visual footprint. Correspondingly, the system designed by Reston, VA acoustic and A/V design firm Miller, Beam & Paganelli was to be compact, but powerful. In all, the system includes one Tannoy VQ 100, a pair of VS 15HL subwoofers as well as nine V8s for reinforcement within the main sanctuary. Additionally, twelve Tannoy CVS 6 in-ceiling speakers and five iW 6DS in-walls provide distributed audio to other areas of the church.
Another priority McGhee and Rossman cite as a key concern was that Cherrydale has the ability to reconfigure the space easily for events such as weddings and other functions. Previously, there had been only one mix position on the upper balcony, McGhee explains. Regardless of the function the sanctuary was being used for, "we wanted the sound mixer to be able to get an accurate picture of what people in the congregation were hearing." To do so Cherrydale asked that the design make the provision for two additional mix positions, one on each side of the main congregation area. To greater simplify the process of reconfiguring the room an Aphex Systems Digital Snake was specified. "With the Aphex Anaconda we're able to transmit sixty-four channels of audio over optical cabling, so whenever the user wants to switch mix locations they don't have to plug in thirty-two mic inputs and thirty-two mix outputs, they just have to plug in two fiber optic cables," says Rossman.
DSP is provided via the Ashley digital amplifiers used to power the Tannoy loudspeakers and two Yamaha LS9 32 consoles – One located in the main sanctuary and one in the broadcast booth/control room behind the upper balcony. A graphics and video projection system was also installed and includes a Sony robotic camera, Sanyo PDG-DHT 100L projector and an 8' x 14' Hurley screen located above the altar's baptismal fount. Reflections in the space are minimized by carpeting, upholstered pews and seats and 700 sq ft of 2-inch Novawall acoustic treatments installed on the rear and side walls of the sanctuary.
In the sanctuary the single Tannoy VQ 100 is mounted discreetly in a keystone shaped centerpiece at the top of a custom-built proscenium. "It has a very wide dispersion pattern from one single point source, so we were able to install that one speaker and cover most of the congregation," says Rossman. Also mounted in the proscenium and flanking the VQ to the right and left are Tannoy's VS 15HL subwoofers to provide low-end reinforcement throughout the entire space.
The V8s, Rossman continues, are installed on the front wall to either side of the proscenium and act as fill speakers for the main congregation area. Two additional V8s are installed to either side of the stage as side fills, while others ensure consistent coverage on and below Cherrydale's expanded balcony – Two located above the balcony proper, and three more in the ceiling of the under balcony. In every case the Tannoy speakers are mounted flush with the surface of walls and ceilings and covered in a decorative, acoustically transparent fabric designed to make them blend into the architectural details of the room. The Dual Concentric™ driver equipped Tannoy V8s offer similar benefits to the VQ 100 in terms of power, clarity and size, says Rossman, but they also made the general contractor's job easier. "They were actually installed in little cubbies in a brick wall that had to be drilled out, so I'm sure that he appreciated that they were a smaller box."
Given that Cherrydale's services sometimes attract more people than the sanctuary can hold, care was also taken to be sure that other spaces in the building receive clear, consistent coverage. To provide for this three Tannoy CVS 6s are located in the main foyer and three are installed in the church's glass enclosed cry room. Three more CVS 6s are split between a separate meeting room and classroom. Additionally, five Tannoy iW 6DS in-walls are installed in the Narthex. All components located outside the sanctuary are time aligned back to the main system to provide consistent sound for anyone moving in and out of the sanctuary during services.
Consistency, in fact, was one of the main reasons Tannoy and this particular combination of their product was chosen for Cherrydale, explains Blair Parker, a senior consultant at Miller, Beam & Paganelli, and the acoustic and A/V designer on the project. "The VQ Series in particular has really good pattern control and the line is very consistent in terms of the tonal quality all the way from the V6 up to the VQ Series. Also the Tannoy are relatively transparent – whatever you put into them is what you get out – and in my experience, if you have a flat, transparent system you can get more gain before feedback out of the system." Here, he adds, "there's gain for days."
Perhaps, for Ralph James ears, a little more than he would prefer. "They run it at about 92dB, which is louder than I'm comfortable with," James says, laughing.
That aside, however, when James heard the church would be using Tannoy, he was "more than pleased", citing a personal connection to Tannoy that dates back to him having integrated a pair into his home stereo system in 1963; a pair of Tannoy 12-inch speakers he bought from a local audio provider, had a local woodworker build enclosures for and still uses to this day. And while he says that his familiarity with Tannoy had no bearing on Cherrydale's choice, based on his experience James says that Tannoy provides "lively sound, the way it's supposed to be heard."
In a nutshell, exactly the kind of transparency and clarity that makes Tannoy a good fit for multi purpose applications such as Cherrydale, in which the message and the means in which it is conveyed depend so heavily on both speech and music.
Visit www.tannoy.com for full news article and product information: www.tannoy.com/news.aspx |
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| New update to Lake Controller delivers even greater flexibility |
| November 2010 |
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Lake is delighted to announce the release of a highly significant update to the company’s industry renowned proprietary Lake Controller software. This latest version (v5.6) includes several critical developments to both the Lake Controller software and included firmware for both LM 26 Digital Audio Loudspeaker Processor and Lab.gruppen PLM products.
Lake Controller software provides a unified interface for control and monitoring of PLM™ Series Powered Loudspeaker Management™ systems and Lake LM 26 Digital Audio Loudspeaker Processors. In addition to controlling all parameters of Lake Processing, the Controller also provides control and monitoring of exclusive PLM Series features: digital input gain and attenuation, and comprehensive load verification and monitoring via LoadSmart™ and SpeakerSafe™.
One of the most significant benefits delivered by this major update is the provision of Bridge Mode configuration on all PLM Series models (PLM 10000Q, PLM 140000 and PLM 20000Q) which allows the user to bridge two channels together and achieve a larger output voltage swing. This is useful for particularly demanding applications such as high power handling subwoofers or large format line array elements where the LF is driven by a bridged channel (with the mids and highs driven by the other 2 channels on a single unit in the case of the PLM 10000Q and PLM 20000Q). As its a firmware update, Bridge Mode adds new flexibility and offers even greater potential to those with existing PLM inventories as well as prospective customers. |
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| Vocia Earns Additional EU and Australian Standards Approvals |
| November 2010 |
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BEAVERTON, Oregon — Biamp Systems, a leading international provider of professionally installed audio systems, today announced that Vocia has been independently verified for use in EN 60849- and AS 60849-compliant life safety systems.
Verification guarantees to commercial sound integrators and distributors that Vocia, Biamp's critical paging and voice evacuation system, meets relevant government specifications for life safety paging and voice evacuation systems throughout the European Union and Australia.
"This independent verification demonstrates Biamp's continued dedication to meeting the highest life-safety standards worldwide," said Graeme Harrison, Biamp's Vice President of International Sales. "Vocia delivers the versatility and reliability that governments and businesses from London to Sydney demand in evacuation and alarm systems."
Independent consultant Michael Creydt issued the verification last month after confirming Vocia would meet system demands and expectation for EN 60849 and AS 60849 systems. Creydt is a member of Germany's BDFS organization (translation: Agency of Notified Expert & Professional Assessor), and is a well known consultant and lecturer on EN 54-16 standards throughout Central Europe. |
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| PLM™ - Powered Loudspeaker Management |
| November 2010 |
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Introducing the truly powerful PLM 20000Q.
For immediate Release:
Lab.gruppen is delighted to unveil the new flagship of the acclaimed PLM Series of Powered Loudspeaker Managements systems. The new PLM 20000Q seamlessly integrates two full-featured modules of Lake Processing with four channels of power amplification, each rated at 5000 watts output. This prodigious output capacity makes the PLM 20000Q easily the most powerful four-channel amplifier solution on the market. Because everything is housed in a 2U chassis weighing a modest 37 lbs, the PLM 20000Q affords unprecedented power density for even greater utility in all types of sound reinforcement applications.
By combining enormous power with industry-leading Lake loudspeaker processing, the PLM 20000Q is singularly capable of driving any loudspeaker system or array - of any size or configuration. No other amplifiers or processors are needed, whether the load comprises subwoofers, high frequency drivers, full range loudspeakers, and constant voltage distributed systems, or any combination thereof.
"It's no longer necessary to split configurations across several amplifier types," observes Miguel Hadelich, VP Touring Market, TC Group International. "Rack configuration and inventory management can be vastly simplified, saving time and labor costs."
The PLM 20000Q incorporates several new developments to maintain rated performance even with extreme program demands or under marginal operating conditions. A new universal power supply with power factor correction (PFC) allows extended bursts without sagging rails; extreme low frequency beats will not affect mid- and high-frequency headroom. Also, with a differentiated load on the four outputs, a higher wattage can be delivered to the more heavily loaded channel while peak voltage remains accessible on all channels. In addition, new limiter profiles (developed in consultation with leading end-users) result in improved subjective performance when the desire for increased SPL exceeds allowable limits.
Finally, to assure uninterrupted service when pushed to extremes, the PLM 20000Q employs the proprietary Breaker Emulation Limiter (BEL™) (to prevent tripping of mains breakers) along with advanced peak limiting circuits that keep output devices inside operating tolerances and below the thermal protection threshold. And when confronted with sagging mains voltage, new Under-Voltage Limiting (UVL™) allows continued operation even when mains supply is as low as 65 V.
The robust amplifier platform works hand-in-glove with dual integrated Lake Processing modules. In addition to exclusive Lake features such as Raised Cosine Equalization™, Limiter Max™ peak and RMS limiters, and Iso-Float™ ground isolation, the input and DSP sections of the PLM 20000Q also include AES3 digital and Dante networked inputs, primary and secondary network connections, digitally implemented zero-overshoot Inter Sample Voltage Protection Limiting (ISVPL™). LoadSmart™ load verification and SpeakerSafe™ loudspeaker performance monitoring ensure trouble-free performances. All PLM Series products are controllable via the Lake Controller software application, and all are fully compatible with the new LM 26 Lake Processor, Dolby Lake Processors, and other legacy Lake processors.
Håkan Gustafsson, Product Manager for Lab.gruppen and Lake touring products, continues "With a Lake processor in each amplifier absolute control can be achieved down to the single speaker driver. All accessible as you walk the venue and tune the system on your wireless tablet running the Lake Controller. The truly unique Mesa filtering with the possibility of applying asymmetrical slopes is superior when it comes to solving real world acoustical problems."
The PLM 20000Q delivers 5000 watts output per channel with all channels driven into optimum impedance interval of 2.2 - 3.5 ohms. Output per channel into 4 Ohms is 4400 watts, all channels driven. Peak output voltage is 194 V, while THD +N at 1 kHz and 1 dB below clipping is <0.04%.
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| Tannoy V8s and 110 SR subs score points... |
| November 2010 |
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Tannoy V8s and 110 SR subs score points at New York's game changing NHL Powered by Reebok Store
For immediate Release:
Obviously the best way to take in the all the furious action of the world's fastest team sport is to experience an NHL game live. But if you happen to be in New York City and you don't have tickets for the next Rangers game, the NHL Powered By Reebok Store is your next best bet.
Designed by global architectural, design, planning and consulting firm, Gensler, NHL Powered By Reebok is a celebration of all things hockey and features a state-of-the-art audio/visual system designed and implemented by McCann Systems of Edison, New Jersey. Located in Midtown at Avenue of the Americas and 47th Street, NHL Powered By Reebok boasts over 3,700-square-feet of retail space packed with all the latest in NHL and Reebok wear for all thirty of the league's teams.
Taking its inspiration directly from the game itself the facility offers far more than NHL and Reebok merchandise; incorporating design elements and systems aimed at providing customers with a truly game changing retail experience. Among them: an ice wall created by NYC's Aaron Barr Studio decorative arts agency, which acts as a backdrop for merchandise and, occasionally, the Stanley Cup itself; a floating hockey stick sculpture incorporating over 400 Reebok sticks and surrounded by nine NEC 50-inch flat panel monitors; a white-epoxy floor, courtesy of Dex-o-Tex of Roselle Park, N.J, that gives patrons the impression they're walking on a surface of a rink themselves, as well as an integrated Starbucks coffee shop.
The space also incorporates a 17-foot x 5-foot LED video screen, anchored in steel and crowned with a rotating NHL shield that greets customers at the main entrance, LED zippers scrolling hockey info across the exterior of the store, multiple LCD flat screens playing clips and full games in real time and interactive kiosks where patrons can place orders digitally from within the store, play NHL video games, browse the league's www.NHL.com site, or access Reebok's e-commerce sites to create and order their own unique NHL branded footwear.
In addition the facility includes it's own built in XM Satellite Radio studio on the mezzanine level. Fronted by a 220-inch motorized video screen, the studio hosts live broadcasts for XM's hockey talk radio station, NHL Home Ice, as well as special events running the gamut from Q and A sessions with players to the launch of NHL themed video games, like the September 2010 release of EA Sports' NHL 11.
It's far more than just a store, and, correspondingly, incorporates a Tannoy sound reinforcement system with more horsepower than the average retail outlet would employ.
Based on their previous design of the systems inhabiting the NHL's headquarters proper, McCann initially consulted on the project, before ultimately winning the bid to design and install the store's extensive audio/visual systems. "They wanted us to design a system that flowed with their merchandising," says McCann Systems Project Manager, Joseph Fusaro. "A powerful system," he adds; one that integrated all the previously mentioned video elements with a suite of Tannoy loudspeakers to provide highly intelligible reinforcement of speech, background music and material broadcast throughout the store's 6,700-square-foot interior from the XM studio.
Designed by Fusaro and McCann's Director of Technology, Jonathan Shor, the system incorporates eight Tannoy V8 Dual Concentric loudspeakers and four Tannoy in-ceiling CMS 110SR subs. Completely automated, the system is controlled via a Medialon Show Control Machine Pro and incorporates a number of Crown CTS 4200 amplifiers to drive the Tannoy speakers.
For maximum coverage four V8s were mounted roughly 14-feet above the sales floor on each of two architectural pillars that essentially divide the space into thirds. "What we did was wrap the V8s around each column - one a side - facing outward and down at approximately a forty degree angle." Aesthetically speaking, for a commercial space of this nature, a clean and compact surface mount device such as the Tannoy V8 fit in exceptionally well. "As for the subs, in wall was definitely the way to go," Fusaro says, citing large cavities in the store's rear wall as the ideal spot to hide the CMS 110SRs.
"The point of using the V8s along with the CMS 110SR subs was that the client wanted to have background music, but then, when they have events, they want the system to produce high level volume - more of a party mode - to carry the crowd. Also, when they do interviews, they can have them play back with nice, clear sound. You can get up to about 95dB in there with no problem at all."
Beyond fitting the NHL Store's aesthetics the V8s Dual Concentric design offered additional benefits. "Directivity," Fusaro says. "They produce a lot of SPL and we wanted to make sure they filled the air properly and didn't overlap where they didn't need to." The V8s sensitivity and power handling was also a plus. "We knew they were going to be having events, like launches, where they're going to have music at a moderate level and then all of a sudden something's going to jump out at you, so we wanted a speaker that sounded good and could handle that."
The key element for Fusaro, and for McCann as a company, regardless of what products they use, however, is to avoid aligning themselves with any single brand or product in order provide an appropriate solution to meets their client's needs to the letter. In this case the Tannoy loudspeakers were more than up to the job. "They carries the space well," Fusaro says, "and they're still using them to this day."
Visit www.tannoy.com for full news article and product information: www.tannoy.com/news.aspx |
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| Tannoy loudspeakers an integral part of 1.3 billion dollar modernization program... |
| October 2010 |
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Tannoy loudspeakers an integral part of 1.3 billion dollar modernization program at Mineta San José International Airport.
For immediate Release:
Owing to its proximity to Silicon Valley - an area where residents produce more U.S. patents than any other in the United States - passengers coming through Mineta San José International (SJC) tend to expect a level of technological excellence that exceeds what they might hope for elsewhere.
That was a key consideration driving the design/build at SJC, a 4-year project encompassing nearly one million square feet of building space. "We are Silicon Valley's airport," says David Vossbrink, Communications Director for the airport. "We're a stone's throw away from Google, Intel, Apple, Hewlett Packard, Adobe and Ebay. We have a very savvy and demanding business and general traveler here." In order to continue accommodating travelers while changes were made, the program progressed in stages, prompting Vossbrink to refer to the process as a 'billion-dollar kitchen remodel'.
Completed in June of 2010, the 1.3 billion dollar modernization program included a new 3,300-space rental car and public parking facility, 'ConRAC', the renovation and expansion of the airport's existing Terminal A and the creation of new Terminal B. Overseen by Hensel Phelps Construction Co. and designed by Denver-based Fentress Architects the facility is now the most technologically advanced airport in the United States. As impressive as that is, however, for passengers it's the details not the scope of the design/build that will impact them the most.
While it's impossible to do away with the stress of travel entirely, SJC has made great strides in alleviating that stress for their discerning clientele, employing new and established technology in a manner aimed at enhancing their peace of mind and comfort. That technology runs the gamut from one of the world's most advanced baggage screening systems to the inclusion of 1200 Zenky 'Air Chairs' throughout, as well as a high quality, highly intelligible, distributed audio system that incorporates hundreds of Tannoy in-ceiling loudspeakers. The project also involved the comprehensive modernization of the facility's lighting systems and IT backbone.
To further speak to their clientele's needs, free Wi-Fi was introduced in Spring 2008, mid-renovation. "Not radical, but unusual in the airport world," says Vossbrink. "But," he adds, "not only do you want to satisfy your tech savvy road warrior with free Wi-Fi, you want to allow them an opportunity to plug in their devices."
True enough. We've all had the experience of huddling over laptops and phones to work as they recharge between flights. Typically sitting on the floor to be close to inconveniently placed power outlets that seem to be industry standard in many major and secondary transportation hubs worldwide. The solution, the aforementioned 'air chairs', which are equipped with both standard three prong and USB power outlets for passenger use.
A common-use system was also instituted so any gate in the terminal can be assigned to any airline rather than requiring carriers to rent specific gates long term. The result is a more productive use of infrastructure, reduced cost to carriers who only rent a gate for the period of time they use it, and - most welcome - the ability to use any free gate to offload passengers rather than their having to wait on the tarmac for a gate to be available at times of heavy traffic. A situation, regrettably, that is all too common at other major airports. As is, all too often, the type of public address system that sounds more like someone is trying to talk around a mouthful of hot porridge than making any kind of serious attempt at imparting information. Happily, that's not the case at SJC...
For Miamisburg, Ohio's Signature Technologies Inc., which does business in the industry as Com-Net Software, the implementation of SJC's new state of the art audio system was a multiple phase project that began in early 2008. In this case construction manager, Convergent Strategies Consulting Inc., now BLC Partners Inc., was responsible for the original overarching design and Com-Net Software was contracted specifically to provide and integrate the public address system along with the existing visual display component.
Because of the nature of the build high levels of intelligibility weren't just desired, but required. The airport's audio system does double duty for secondary fire and lifesaving purposes and needed to pass rigorous STIPa tests to comply with the intelligibility guidelines called for by the NFPA 72: National Fire Alarm and Signaling Code.
Visit www.tannoy.com for full news article and product information: www.tannoy.com/news.aspx |
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| Tannoy QFlex install overcomes architectural obstacles... |
| October 2010 |
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Tannoy QFlex install overcomes architectural obstacles at Birmingham, Alabama's St. Elias Maronite Church
For immediate Release:
Rooted in the Antiochene tradition of fifth century Syria, the Maronite Rite is named for the hermit monk, Maron, whose life of prayer and meditation inspired followers to sacrifice their possessions, and at times their lives, for their religious convictions. Located in Birmingham, Alabama, on the outskirts of the UAB Campus, the 350-person capacity St. Elias Catholic Church is the only church in Alabama belonging to the Maronite Rite.
In truth, the comprehensive remodel of St. Elias involved a kind of sacrifice itself, primarily in terms of intelligibility, explains designer/integrator and parishioner, Gary Boackle President of audio contractor, Clear Solutions Inc. "The reverb time in the sanctuary went from just under two seconds to over six seconds." Prior to the remodel and installation of the Tannoy system the entire ceiling was covered in aging acoustic tile. "The ceiling had been patched where they'd had some water leakage. There were tiles that were different colors because some were newer than others, and some were missing entirely. We knew the ceiling tiles were affecting the acoustics in the room, but we did not know to what extent."
The scope of this current remodel - the first since 1970 - was intentionally broad, and included an upgrade of the building overall, as well as an overhaul of the lighting, audio and air conditioning systems. Work at the church began in summer 2009 and was completed by November - coinciding with the celebration of the parish's centennial. The remodel included the refurbishment of woodwork in the rear of the church, new porcelain and marble flooring and the restoration of the ceiling to a smooth, more reflective surface. The result is stunning, a blend of modern and traditional architectural elements that reveals the graceful arch of the ceiling and provides an beautiful setting for nineteen stained glass windows that line the narthex, nave and apse.
While there was a core gain in terms of aesthetics and the added grandeur the livelier space afforded the choir and organ, the acoustics of the church were still a problem. "I've heard multiple people say it's the best the choir has ever sounded," Boackle says, "much fuller and more blended. It sounds like you're in a big cathedral now. That's one of the positives." On the negative side, however, anyone trying to be heard, unamplified, was going to have trouble getting their message across.
"Sound in St. Elias was never optimal," adds James Boohaker, another parishioner and owner of Boohaker and Associates, a local contracting firm, "it was a sixty-year project." For Boohaker the project was personal. The church relocated to its current building sixty years ago after the initial building had fallen into disrepair and was to be closed by the diocese. "I was the first one baptized here in this church. My father just died as this started and I was going to back out, but before he passed away he said 'you've got to stay with the church'. I'm glad I did. He was in charge of choosing the architect and contractor then, so it's full circle that I'd work with the architect and contractor that would finish it."
Although Birmingham based, Rives Construction was the contractor on the build, Boohaker was heavily involved as part of the committee overseeing the remodel, along with fellow parishioner, David Elkourie, who was instrumental in keeping the committee on track and moving forward. "The church just reached a point where we needed to do a major renovation," says Elkourie. "We started the remodel over two and a half years ago, but the hang up was always the ceiling, until we found the sound system that would allow us to do what we wanted to the ceiling and still get the sound we wanted."
Boohaker approached Boackle with the hopes of looking at the problem from another angle. When Boackle learned the church planned to pull out pre-existing carpets from the aisles, take down the ceiling and replace a number of other surfaces, he explained that the acoustics would be altered dramatically. To address the problem Boackle suggested a cutting edge technological solution that was able to direct sound to the congregation while not detracting from the traditional aesthetics of the sanctuary; Tannoy's innovative, self-powered, digitally steerable QFlex array, paired with two Tannoy VS10 BP subs.
The prime objective of this install was to finally overcome the architectural issues that made the room so challenging; speaking to both the need for intelligible speech reinforcement as well as a desire on the part of many in the congregation for the room to sound more reverberant. The initial architect on the build suggested several options, but each involved an acoustically treated ceiling that was expensive and highly difficult to maintain. "Until Gary came along," says Elkourie, "we didn't know there was another option."
After a new architect was hired, John Carraway of Birmingham's Carraway and Associates, Boackle arranged a demonstration using a single QFlex 32. For Boohaker it was a revelation. "Who would have thought that technology would allow us to do that? I didn't even know you could control sound in that way." Carraway also saw the benefit of the QFlex solution, Boohaker adds. "It freed him up to deal with the ceiling and restore the church to what it was always intended to be."
Though he has used Tannoy product previously, this was Boackle's first use of QFlex and he relied heavily on Griffith Sales representative Richard Hembree and his knowledge of the array. "This is one of the toughest acoustic environments into which I have been asked to place a system," says Hembree. He stresses the effect that removing the existing carpeting and redoing the floor in slate and marble had on the room. He also explains that the arched ceiling continued to work against them, focusing all of the sonic energy back at the parishioners and the wooden pews. "Pretty much every surface is hard and reflective, short of the people who walk in. It is virtually impossible to carry on a conversation with someone standing more than 30 feet away. However, when you step behind the microphones, every word is delivered to the room clearly."
In the end a pair of QFlex 40's were mounted to either side of the altar roughly six feet up the wall. "Even though acoustical problems were created in the church by the renovation, we were confident we could provide a solution that kept the intelligibility high," says Boackle. "We steered one beam across the entire congregation and ended about seven feet up the back wall, so if someone was standing they could hear. A second beam of sound went up to the choir loft. A different approach to the sound system simply wouldn't have addressed the acoustical problems in the room, as well as the Tannoy QFlex system has done. We wouldn't have been able to achieve solid gain before feedback and the intelligibility would have suffered." For low frequency support two VS10 BP subs were placed behind a side altar.
Clear Solutions also specified a suite of Audix microphones to be placed in key locations throughout the sanctuary, on the pulpit, lectern and altar, and in the choir loft. The latter, two Audix MB5055-HC Microbooms, are used to pipe the choir to exterior third party speakers employed during special services and processions.
Automatic mixing, routing and processing are handled by two Biamp Nexia CS DSP's controlled remotely via one AMX touchpanel and two AMX keypads, allowing users to manipulate the system for mass, or for guided public tours of St. Elias' collection of stained glass windows during an annual spring festival that draws large numbers of visitors from the surrounding community and beyond.
The resulting sound is far more in keeping with St. Elias traditional worship services. Unamplified it takes on the gloriously reverberant character of a cathedral, while transmitting spoken word with a level of clarity previously unimaginable to the congregation. "It accomplished every goal that we had in terms of both budget and performance," Boohaker says.
Elkourie agrees, "It's a wonderful, full sound. We're pleased and the church is better for it. It will take us into the next fifty years."
Visit www.tannoy.com for full news article and product information: www.tannoy.com/news.aspx |
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| InfoComm 2010 |
| 2010 |
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| InfoComm 2010 was a resounding success for everyone and it was great to see the many familiar and new faces in Las Vegas. This year's Show hosted more than 300 jam-packed educational seminars and 925 exhibitors at the second largest show in InfoComm history! |
| Read More |
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VoIP is now cheaper, easier to manage, and can deliver higher audio quality than traditional PSTN lines. This means you need to be prepared to answer questions IT buyers have about VoIP products. Are you ready to sell VoIP solutions to IT buyers?
Download the AV Guide to VoIP. |
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TC Group Americas Inc. announces a new addition to head
their Tour and Install Sales Team. |
| August 2010 |
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Kitchener, Canada, August 2010 - TC Group Americas Inc. distributor of TC Electronic, TC Helicon, Dynaudio Acoustics Tannoy, Lab.gruppen, Linn and Audica is pleased to announce the appointment of Frank Loyko to VP of Sales for Tour and Install. Frank's extensive background includes over 30 years of successful sales experience.
Loyko's sales and managerial experience in the install and tour markets comes from his vast background and accomplishments within the professional audio and music industries. Frank's most recent role was President of RCF USA. Prior to that Frank was the Director of Live Sound for Digidesign a division of AVID Techonolgies, the industry leader of live sound consoles. Most notably, Frank was a co-founder of EAW and was the driving force in steering the brand to an industry leader. Frank remained through the Loud Technologies acquisition of EAW and had a successful tenure at LOUD as Senior VP of Worldwide Sales.
Marc Bertrand CEO of TC Group Americas Inc. is very pleased to welcome Frank to his new position. "Frank's background and experience are a great blend with the extensive talent we have here at TCGA. It really is a great opportunity for us to take our organization and specifically, the two market verticals he's responsible for, to greater levels of sales, support and market position more quickly and effectively."
Frank is now looking forward to being a part of the TCGA team. "My philosophy has always been to surround myself with the best in the industry. The TC Group has a strong, professional and knowledgeable team with superior products."
Frank can be reached at:
Frank Loyko - VP of Sales Tour & Install - TC Group Americas
phone: 425 242 1340 (West Coast Office)
cell: 206 300 7122
frankl@tcg-americas.com
tcgroup-americas.com |
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| National Museum of War |
| August 2010 |
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George H.W. Bush Gallery Utilizes Tannoy Loudspeakers To Tell Story Of America's War In The Pacific
The National Museum of the Pacific War, located in Fredericksburg, Texas recently opened the George H.W. Bush Gallery, the most comprehensive exhibit on the history of World War II in the Pacific and East Asian theaters. The state-of-the-art 33,000 ft exhibition features 40 media installations that speak to visitors about the complex, difficult and ultimately inspiring story of America's war in the Pacific during World War II.
Bowen Technovation, located in Indianapolis, Indiana was chosen to engineer all control, audio, video, lighting and interactive exhibit technologies in the Gallery. Large scale content was provided by Bowen Productions with interactive content created by Boston Productions.
Jeff Bowen, president and creative director of Bowen Technovation, installed custom Tannoy-based loudspeaker systems for each exhibit.
"The exhibits feature Tannoy-based systems that are 5.1 channels but not in your typical L-R-C-Sub-Ls-Rs orientation," Bowen explains. "They behave more like six independent channels that we use for sound effects or to localize voice in the area of the visual images.
"In that respect it is not ‘surround sound' but is more like multichannel audio. We used Tannoy DC 6i loudspeakers for each channel and one or two DS 15i subwoofers as needed in each exhibit."
The Pearl Harbor Gallery, which is the largest exhibit in the new museum addition, demanded a bit more audio artillery.
"We used the same approach for the Pearl Harbor exhibit but with 8 channels, so the system is 7.1 but again, not in the "theater" sense," Bowen continues. "It is actually 6.2 with a L-R over two edge-blended wide projection areas, with two rears and with one speaker off to the audience's far left for dive bomber and teletype effects.
"The remaining speaker is mounted over one additional projection screen for explosions and voice sound effects. The subwoofers for the Pearl Harbor Gallery are two Tannoy DC 15i spaced far apart with separate sub bass audio effect on each."
A total of nineteen DC 6i loudspeakers and seven DS 15i subwoofers were utilized in the 40 exhibits.
In addition to the exhibit areas, eight Tannoy Di5 surface mount loudspeakers fire down in various zones for soundscapes. Six Tannoy CMS 501 and two CMS 601 ceiling speakers are installed under bulkheads and in ceilings for complete audio coverage. QSC amplifiers provide the power for all of the units.
"Tannoy products have worked very well on other projects during our 25 year history, this was no exception," Bowen concludes. "We also have very personal communications with all the Tannoy staff which makes working with them a pleasure." |
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| Gettysburg Cyclorama |
| July 2010 |
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For Immediate Release - Tannoy V Series loudspeakers a key component in putting visitors 'on the field' during Pickett's Charge
To call the Gettysburg Cyclorama experience install impressive doesn't come
close to adequately describing the end result or the efforts that went into
creating it. The summer 2008 audio installation at the Gettysburg National
Military Park Museum and Visitor Center in Gettysburg, Pennsylvania was the
culmination of a project that began with one of the most ambitious art
restoration efforts ever undertaken in North America. The subject, a
360-degree painting of the "Battle of Gettysburg", along with the setting
created for it and the Tannoy-heavy audio install that literally surrounds
visitors, are all equally massive.
To get a true sense of scale it's best to start with an explanation of the
Cyclorama painting itself. Created by French painter, Paul Phillippoteaux
and first exhibited in 1884, the Cyclorama had previously been installed, in
pieces, at nearby Cemetery Ridge. Now, after a five-year conservation effort
undertaken by Olin Conservation, Inc., the Cyclorama can be viewed as
originally intended.
Viewing the painting on its own is an experience in itself. It's a stunning
377 feet in length and 42 feet high - the largest painting of its kind in
the US. With the addition of a three-dimensional battlefield diorama
occupying the space between the painting's bottom edge and the visitors'
viewing platform, and a canopy placed above it to hide lighting, audio
fixtures and architectural features from view, visitors literally find
themselves immersed in Pickett's Charge. But what really brings this
depiction of the third and final day of the 1863 Civil War battle to life is
the sound and light show, which includes a suite of Tannoy V Series
loudspeakers placed to optimize the effect of a soundtrack created by Donna
Lawrence Productions.
The audio system was created jointly by A/V Designers PPI and Electrosonic,
explains Andrew Kidd, Business Development Manager and Senior Technical
Consultant at Electrosonic, who chose the individual Tannoy components as
the primary loudspeakers for the build. In conjunction with Bob Haroutunian
of PPI, Lighting Designers Ted Mather and Tim Becker of Available Light, and
Producer/Director Donna Lawrence of Donna Lawrence Productions, Kidd and
Electrosonic set about creating a system that would dramatically enhance the
viewer's experience of both the Cyclorama and the accompanying soundtrack
and lighting design.
Visitors view the 360-degree work from a raised viewing platform 36 feet
back from the painting, so that the horizon line of the work is essentially
at eye level. "You're absolutely surrounded," says Kidd, "by both the
painting and a sound and light show which tells the story of this point in
the battle."
Achieving their goal of bringing the painting to life and creating the
auditory illusion that visitors are indeed at the centre of a battle
presented challenges specific to both the medium, as well as the manner in
which the painting is hung. "As I understand it, the painting is actually
composed of several layers of canvas, so there was no way we could put
speakers behind the painting, but we really wanted sound to appear to come
from the painting," Kidd says.
To achieve that effect one ring of 16 equally spaced Tannoy V12's have been
mounted around the circumference of the painting off the rear catwalk
railing above it. These are used primarily for effects and are paired with a
second ring of 16 Tannoy V12's mounted discreetly in the diorama below -
roughly corresponding to the placement of the upper row of Tannoy. "Each of
those top and bottom pairs, we fed them exactly the same signal so the sound
appeared to come from the middle of the painting," says Kidd. Each speaker,
however, has its own DSP channel so that any EQ, level or delay required to
enhance the sense of the sound coming from the centre of the painting can be
adjusted at that point.
Lawrence's concept for the sound design was created in close collaboration
with principal recording and mixdown engineer Chris Greenwell, at Downtown
Recording in Louisville, Kentucky. In addition to a variety of pre-recorded
period music, contemporary choral works, and a narrative written by John
Styron and voiced by Glenn Close, Lawrence's sound design required that
certain effects, such as cannon and musket fire, appear to travel from one
area of the painting to another. "To whiz over your head, and disappear
behind you," explains Kidd. To achieve that, 16 additional Tannoy V8's, each
on their own source channel, were mounted at roughly the same radius as the
outer rings of Tannoy, along a lighting catwalk located above the audience's
viewing platform. Eight third party subs on a single channel are similarly
located.
Finally, to complete the illusion, 4 Tannoy V8's on a single source channel
are mounted directly above the viewing platform pointing down. "In all there
are 34 independent channels of sound," says Kidd. "All fed by a pair of
Fostex 24 channel HDD player/recorders, synchronized with each other and the
lighting rig via a master SMPTE track."
To imply that ordinance is literally flying over the audience's heads,
individual effects are assigned to one or more of the paired painting
channels, and subsequently panned in an arc across the intervening rings of
speakers and the diameter of the space. An additional 12 Tannoy i6 AW
loudspeakers are also used in the entryway to the space to provide program
reinforcement for those entering to view the Cyclorama.
An equal amount of detail and care was taken to ensure that Lawrence's
soundtrack achieve the optimum acoustical balance in the space. "They
prepared as much as they could in the studio, then brought the ProTools rig
to Gettysburg," Kidd says. After the system was fully installed and an
initial tuning completed by Tony Peugh, the Electrosonic onsite A/V system
engineer, the soundtrack was remixed in the actual venue by Chris Greenwell,
with initial assistance from Jim Flynn, consulting mixdown engineer - "They
more than mixed it," Kidd adds. "They moved channels around for days, taking
it from a 2D to a 3D experience."
While Kidd could have considered another product for loudspeakers, the
choice of Tannoy, he says, came down to his background and experience with
the product. Though Kidd has been with Electrosonic for 32 years, he cut his
teeth in the business as a broadcast audio engineer in the UK. "I've been
using Tannoy speakers for decades. I know them. I know what I'm going to
get. They're relatively small. They have a very even sound and work very
well for this kind of mixture of sound effects and narration."
"They're very even, very easy on the ear," he adds. For this installation
that was of prime importance - The whole point of the audio install was to
provide clear, defined sound reinforcement to complete and enhance audience
experience discreetly.
That's a job Tannoy traditionally does exceptionally well, and the
Gettysburg install is no exception. Now, as the project approaches the
two-year anniversary of its grand opening, well over a million people have
filed through the gallery. Some of them, like the Civil War veterans who
originally viewed the painting in the 19th century, have been literally
brought to tears by the experience.
As an artifact, says Dru Neil, Director of Communications & Marketing at the
Gettysburg Foundation, the Cyclorama is a tangible link to the late 19th
century and to the veterans who first viewed the painting in its original
form. "The whole point of the experience, now and historically, was to make
you feel as if you are surrounded by the event taking place on the canvas.
The sound that's now added to the experience just takes that to another
level. It's a phenomenal experience." |
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| McPherson Opera House |
| July 2010 |
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Tannoy QFlex/McPherson Opera House Release
For immediate release - 21st century makeover of 19th century McPherson
Opera House features innovative Tannoy QFlex install
Historic buildings tend to go through catastrophic changes over the course
of time. All too often that means they meet an unfortunate end, becoming
little more than a collection of fading memories hovering over a brand new
parking lot - which was exactly the fate the McPherson Opera House faced,
until it was saved from destruction in 1986 by the McPherson Opera House
Preservation Company.
One of the most prominent buildings in the downtown core of McPherson,
Kansas, the opera house is known for its superb acoustics and has hosted
everything from Vaudeville shows and films from the golden age of cinema
through to political rallies and suffrage meetings. Correspondingly, says
Michael Dunn of Sounds Great Music, designer and installer on the project,
"They wanted a sound system that performers would find not only adequate,
but impressive" - One that would provide not only good, natural sound, but
achieve a look in keeping with the buildings' roots and legacy.
The refurbishment of the 1888 opera house was virtually a complete rebuild,
Dunn explains, the final phase of which was completed in December 2009 with
the installation of the venue's new lighting rig, and an audio system
featuring Tannoy's compact, digitally steerable QFlex arrays.
Tannoy wasn't the first solution considered, Dunn says. But after a closer
look at the initial concept, one based around a conventional line array
system, with the inherent bulk and significant architectural impact that
such a system would bring to the space, the benefits of QFlex swiftly became
apparent. "We started to look at the lines of sight and the 3D models the
architect had, and we realized that more than half of the audience would not
be covered by the traditional line array concept, and would have to be
covered by additional under balcony fills."
Beyond offering a solution that would enhance the experience of both patrons
and visiting performers without detracting from the venue's historic
elegance, particularly given the very delicate and compact dimensions of the
performance space, QFlex also overcame other challenges presented by the
build. Specifically, in providing clear, even coverage without forcing users
to resort to butt thumping levels of volume. "It's very close," says Dunn.
"The front of the balcony is about 25' from the stage. The farthest corner
balcony seat is only 65' from the center of the stage.
Additionally, care had to be taken to ensure no damage was done either
during the install, or during subsequent performances, to the venue's
fragile leaded glass windows, or to the plaster and lathe fresco above the
proscenium - a work originally created by artist G.N Malm in 1913, and
painstakingly restored by EverGreene Painting Studios and Belle Restoration
from the original 1888 stencil.
Overall, the low profile, self-powered QFlex arrays were a perfect fit for
the 550-seat venue's needs. "Aesthetics were critical; equally as important
as the desire for good, natural sound," Dunn continues. " In the end QFlex
made for both far less visual clutter, as well as substantial gains in terms
of coverage and overall clarity.
Initially, however, those gains sounded too good to be true to the client.
"When Sounds Great first proposed Tannoy's QFlex and showed us how small
they were, we were highly skeptical," says John Holecek, Executive Director
at the McPherson. "It actually created a bit of a crisis there for a minute,
but you either trust your vendors or you don't," he adds.
In the final analysis, Holecek is glad he did. "The fact that the speakers
are so unobtrusive is a huge plus in an historic theater. I can't emphasize
that enough. They blend in wonderfully well. The acoustics were always good.
Now they're magnificent."
With both aesthetics and coverage in mind, Dunn installed one QFlex 32 on
either side of the proscenium to cover the main floor and the first balcony,
while another pair of QFlex 24's - mounted above the proscenium arch - cover
the second balcony.
To flesh out the bottom end Dunn specified two Tannoy Power VS 15BP subs and
hung them from the second floor of the Juliet balconies to either side of
the stage. "You can't see the subs, can you?" Dunn asks, laughing. "We
ported them through the wall and then sealed the ports, so that even in the
Juliet balconies, while audible, they aren't overwhelming."
Performers will also benefit from Tannoy's trademark clarity, owing to six
V8 Dual Concentric stage monitors, chosen, again, to achieve maximum
coverage with a minimal footprint.
The clarity of the system is further enhanced by key recent developments in
QFlex's digital connectivity. Ultimately that's a product of the install
coinciding with the culmination of Tannoy's development of digital audio
input cards and digital audio break in boxes for QFlex systems - The testing
of which had only just been completed when the parts were shipped from
Tannoy in Scotland to McPherson.
"We're actually running to the QFlex system using AES 110 digital audio,"
Dunn explains. Thus achieving even cleaner sound by maintaining the digital
signal throughout the system, eliminating any additional processing and
minimizing distortion. It's the first full digital installation of QFlex in
North America, and a second technological first for the McPherson, which, in
its infancy, became the first 'electrified' venue between St. Louis and
Denver.
More importantly, the full digital configuration provided an added layer of
quality for the client. Always important, but even more so when doing
business in a small town of 17,000 like McPherson, "where things aren't
always based on price," Dunn says, "but on quality, close personal
relationships, and whether you're going to be here ten, fifteen, twenty
years from now and still be able to service the product."
That quality is reflected in the level of support Dunn received from Tannoy,
in the care that both Dunn and Sounds Great owner Chuck Vetter took to
provide the venue with the system they required, and, most critically, in
the experience the Opera House has offered audiences for over 120 years.
The end result - high impact sound with a low impact visual profile across
the board - Already, Holecek says that artists who've performed at the venue
have expressed a wish to "take the theatre with them wherever they go". As
praise goes, it just doesn't get any better than that. |
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| St Marks Church - San Antonio |
| July 2010 |
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St. Mark The Evangelist Upgrades System With Tannoy Qflex Array Loudspeaker System
St. Mark The Evangelist Catholic Church, a thriving parish in San Antonio,
has been outfitted with a dynamic new sound reinforcement system headed by
Tannoy Qflex Series self-powered, digitally steerable column array
loudspeakers working in tandem with Tannoy CMS Series ceiling loudspeakers.
Dickensheets Design Associates, from Austin, Texas, was retained to design
the new system. Consultant Ken Dickensheets has enjoyed a long working
relationship with St. Marks and was responsible for the design of the
original sound system which was installed when the main sanctuary was built
back in 1997.
"The system had to accommodate a new pipe organ and address system needs for
the more contemporary service that they offer on Saturday evenings,"
explains Dickensheets. "Like many churches, the space had many reflective
surfaces. It is always a challenge to create a system that provides musical
clarity as well as vocal intelligibility."
Dickensheets chose the Tannoy QFlex 24 steerable array because of its
excellent sonic quality and ability to focus the acoustic energy exactly
where it's desired.
"The extreme steering capability was key," says Dickensheets. "The speaker
had to be mounted within the new organ chamber and provide coverage almost
directly in front of the head wall of the sanctuary. The quality of musical
sound and speech intelligibility were very impressive as well. It sounded
great."
As a self-powered loudspeaker, the QFlex 24 it was easily built into the new
structure which was designed to accommodate the pipe organ behind the
chancel. In the end it was virtually invisible to parishioners - another
request from the church leaders and architects.
To fill in the rear and sides of the church, Dickensheets used the existing
distributed ceiling speakers along with 18 Tannoy CMS 6TDC ceiling speakers.
The CMS 6TDCs feature custom cans built by Tannoy that match the church's
lighting fixtures and blend seamlessly into the church architecture. The
entire distributed loudspeaker system was then rewired to accommodate dual
delay zones originating from the chancel and the choir area simultaneously.
"Like most churches, St. Marks had a limited budget," adds Dickensheets. "So
in addition to the ceiling speakers we repurposed the original loudspeakers
from the old center cluster as source speakers for the choir area. One of
the subwoofers from the cluster is co-located with the Qflex array while the
other is installed along with the source loudspeakers in the choir area."
In the main seating area near the center rear of the sanctuary is the FOH
mixing area equipped with a Roland V400 digital mixer. The ministerial mics
are automixed by a Biamp AudiaFlex system which also handles all of the
cross-source delays and system processing.
QSC power amps power the distributed system and the choir source speakers.
The amps and controller are located in a rack in the sacristy behind the
alter area.
"Sound Distributors, also located in San Antonio, did an excellent job
installing the system," notes Dickensheets. "B&A Architects provided the
architectural work needed for the organ installation. It was a great team
effort with outstanding results." |
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| TC Group Americas Inc. to Distribute Audica Professional |
| May 2010 |
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TC Group Americas Inc. (TCGA) has announced it is to distribute Audica Professional in North, Central and South America, adding the brand to its existing portfolio of Tannoy, Lab.gruppen, TC Electronic, TC-Helicon, Dynaudio Acoustics and Linn Products. TCGA will introduce Audica Professional formally at Infocomm Las Vegas in June.
Audica Professional manufactures the MICROseries range of electronics and loudspeakers, combining leading-edge design in flexible audio solutions for commercial background music, corporate AV and audio communications. For applications such as retail outlets, restaurants, hotel public areas and guest rooms, meeting rooms, museums and visitor centers the MICROseries systems fit neatly below the level serviced by Tannoy's product range and both TCGA and Audica Professional view the expanded offering of the two brands as very complementary.
"America is key for most pro audio manufacturers", commented Derek West, Audica Professional's Sales and Marketing Director. "When we started the company just over 3 years ago we first had to develop the European markets to take our business to a structure and turnover that would enable us to support this substantial market. Despite the economic climate we have successfully expanded and now work with leading distributors in 38 countries, including all of the major European markets. Entering America is in itself important, but to be doing it in partnership with a true first division distributor like TCGA is very exciting".
"Audica represents an opportunity for TCGA to offer a more complete range of solutions to our diverse base of integrators, contractors and consultants.
It's outstanding product, sounds fantastic, is very discreet visually, easy to use and priced very competitively. Audica is an excellent fit for TCGA and we are looking forward to growing a great business", comments Marc Bertrand, CEO of TC Group Americas Inc.
A Webinar will be called for all TCGA Representatives before the end of May to go over all the details. |
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| Sona™ AEC Algorithm, the most authentic distance conferencing sound available. |
| March 2010 |
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| Make your meetings and your conversations even better with Biamp's newest acoustic echo cancellation algorithm innovation, Sona™. No matter where your people are, Sona AEC Algorithm delivers full, real sound to nearly any conferencing environment. |
| Read More |
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| TC Electronic PolyTune Poly-Chromatic tuner |
| March 2010 |
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| ALTHOUGH THE POLYTUNE is about the size of an MXR Phase 90, it has an oversized, brightly lit display that is easy to see onstage. The only control on the pedal’s face is a true-bypass footswitch. A miniature recessed toggle switch located on the left side at the top of the unit lets you select Needle and Stream (strobe) modes for guitar or bass. A mini toggle switch on the right side drops the Poly mode’s reference pitch up to five semitones to accommodate guitars tuned down to Ef, D and so on, and the reference pitch can be calibrated from 435 to 445Hz. Other features include a DC output jack that lets you daisy-chain power to other pedals and a light sensor that automatically dims or brightens the display to the optimum setting for your environs... |
| Download PDF |
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| TC Group Americas Inc. Announces a new Marketing Manager - MI & HD Divisions |
| February 22, 2010 |
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Kitchener, Canada, February 2010 - TC Group Americas Inc. distributor of Tannoy, Lab.gruppen, TC Electronic, TC Helicon, Dynaudio Acoustics and Linn is pleased to announce the appointment of Laura Clapp Davidson as Marketing Manager - MI & HD Divisions. |
| Download PDF |
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| Church Production |
| January/ February |
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| Located in College Station, Texas, Covenant Family Church found itself growing steadily, but lacked the space to expand further in its existing facility. To accommodate its new parishioners, the church decided to open a second facility in nearby Bryan. "The two towns border each other; you wouldn't know the difference if not for the population signs," says Communications Pastor Steve Livingston. |
| Download Church Production PDF l Download Church Production PDF 2 |
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| TC Group Americas Inc. promoted Jenny D'Andrea to Customer Service Representative - Team Leader. |
| February 2010 |
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| Kitchener, Canada, February 2010 - TC Group Americas Inc. distributor of Tannoy, Lab.gruppen, TC Electronic, TC Helicon, Dynaudio Acoustics and Linn is pleased to announce the promotion of Jenny D'Andrea to Customer Service Representative - Team Leader. |
| Download PDF |
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| TC Group Americas Inc. announces a new key role on their sales team |
| February 2010 |
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| Kitchener, Canada, February 2010 - TC Group Americas Inc. distributor of Tannoy, Lab.gruppen, TC Electronic, TC Helicon, Dynaudio Acoustics and Linn is pleased to announce the appointment of Ben Cook to Key Accounts Manager. |
| Download PDF |
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| Listen Tech In The Cash Cab! |
| September 11, 2009 |
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| In the true spirit of Listen’s mantra to “Personalize, Simplify, and Customize”, RP Dynamics, a Listen dealer from Mississauga, ON, Canada, has Listen products incorporated as a key component in the hit Canadian cable TV show Cash Cab on the Discovery Channel! Participants enter the cab and on their way to their destination they answer questions for the chance to win cash... |
| Read More |
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| Listen Introduces ListenPoint |
| June 17, 2009 |
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| Listen Technologies Corporation announced the launch of ListenPoint™ - Audio Structure for Rooms Made Easy. ListenPoint™ is a simple way to provide complete audio infrastructure for small or medium size rooms. ListenPoint™ integrates and amplifies all sound sources - DVD, computer, MP3, teleconferencing, room microphones, and VOIP systems to accelerate participant productivity up to 30%*. ListenPoint™ is ideal for the government, corporate and education markets where the need to accelerate retention and reduce speaker fatigue is an advantage. |
| Read More |
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| Stewart Audio Announces BG Media Solutions as Rep |
| February 2009 |
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| Mountain View, California - February 2009 - Stewart audio is pleased to announce the appointment of BG Media Solutions as the authorized sales representatives for Ontario, Canada. BG Media Solutions Inc. specializes and provides manufacturer representation for the commercial, professional and consumer AV market. |
| Read More |
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| BG Media Solutions Welcomed as New Listen Rep Firm |
| January 2009 |
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| Listen Technologies Corporation is pleased to announce the appointment of BG Media Solutions as the company's representative for Ontario, Canada. BG Media will be working Listen's full line of FM, Infrared and Conferencing products for assistive listening, soundfield, tour group, language interpretation and applications... |
| Read More |
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| Queen of Peace Church |
| Ontario |
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| Compact and flexible, Tannoy's new QFlex line is ideal for acoustically challenging venues where aesthetics and intelligibility are of equal importance - Exactly the kind of solution needed to surmount an increasingly frustrating problem at this Norval, Ontario Ethnic Croatian parish... |
| Read More |
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| Design Theory Park Lane |
| November 2008 |
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Upscale club owners tend to want it several ways when it comes to their systems choices. They want to seduce the bottle-service crowd with customizable class, but they also want to rock the dancefloor crowd. And if they're catering to corporate clients, they'll need to tailor the settings anew. Seasoned Toronto club owners Chris Catsanos and Dmitri Sergiou knew this going into the installation phase of their newest nightlife offering, Park Lane, and came out with a versatile yet powerful lighting, sound and video package that's ingratiated itself not only with its target market, but with competing club owners, as well...
Park Lane
www.parklanetoronto.com |
| By Justin Hampton |
| Download PDF |
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| Sound Explosion Gets Amped On Lab.gruppen |
| August 2007 |
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Duke Foster, monitor tech/engineer for Sound Explosion, was System Tech for Rogers Bayfest 2007 in Sarnia, ON. Ajax, Ontario (August 22, 2007)--Sound Explosion Productions of Ajax, Ontario recently got its hands on a slew of new FP+ Series amplifiers from Lab.gruppen. By the time the summer festival season rolled around, the Canadian sound hire company was up to full power with 40 FP+ Series FP 13000 amps for FOH arrays plus six FP 10000Q four-channel units for stage wedges. According to company president David Gardner, they've been working nonstop all summer.
"We've been swamped," says Gardner. "Since we've taken delivery of the Lab.gruppens, they've hardly had a chance to cool down." Gardner says he started looking for new amplifiers after a number of his previous units had failed during performances. "I'd heard that Lab.gruppen had an excellent reputation for reliability," he says, "so I ordered my first batch of FP 13000s. The performance has been flawless, and they sound phenomenal. My VerTec rig has never sounded better."
Gardner is using his two dozen FP 13000s to drive the main FOH arrays, which are normally configured as 12 per side VerTec 4889 mid-high boxes and 12 4800 subwoofers. The six four-channel FP 10000Qs drive up to 24 EAW SM15 wedges in a bi-amplified configuration. The 16 remaining FP 13000s are available as needed for fill and delay systems. Gardner is driving his Lab.gruppens with new Dolby Lake Processors, and the amplifier-processor combination has made a remarkable difference, he claims. "It's added a lot of warmth to the system. The mids and highs sound a lot cleaner than they did before. With the high power and headroom of the Lab.gruppens I can run almost twice as many boxes per amplifier as I could with the old amps. We've done between 30 and 40 very high-stress shows so far. We've pushed them hard and they've stood up very well."
As for headroom reserves, Gardner points out that his three lightweight amplifier racks served up ample power to excite a crowd of 25,000 Aerosmith fans at the Rogers Bayfest near Toronto; other Bayfest headliners were Toby Keith, Def Leppard, and Nickelback. The same system also powered the main stage at the Caribana Festival, Toronto's annual celebration of Caribbean music and culture.
Sound Explosion
soundexplosion@rogers.com
Lab.gruppen
www.labgruppen.com |
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| Posted On prosound news |
| http://www.prosoundnews.com |
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| Biamp Appoints BG Media Solutions and RF Media as its Newest Sales Representatives in Canada |
| April 2007 |
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April 30, 2007 - BG Media Solutions to represent Ontario, Canada; RF Media to represent Quebec, Canada.
BEAVERTON, OREGON, April 30, 2007 — In an effort to provide systems integrators, consultants and end users throughout Eastern Canada with the most effective sales, service and support available, Biamp® has appointed BG Media Solutions as its new representative for Ontario, Canada and RF Media as its new representative in the Quebec, Canada market areas.
"We feel very confident about selecting BG Media Solutions and RF Media as our sales representatives in these two important Canadian areas," said Todd Bergum, North Central Regional Manager, Biamp Systems. "BG Media Solutions and RF Media offer a great combination of industry expertise and support to all those working with our products." |
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