Wellington, New Zealand (May 10, 2021)—New Zealand has one of the lowest incidences of COVID-19 in the world, with only 2,644 cases to date. As a result, large-scale events have resumed in the island nation, including the recent annual Passionate Women’s Conference—the country’s largest event for Christian women. Australian sound engineer Rich Bryant usually travels to Wellington to mix the event broadcast, but due to travel restrictions, he wound up mixing a broadcast feed from his studio in Sydney just over 1,400 miles away.
The event, held in the Michael Fowler Centre in Wellington, included music, worship and spoken word presentations, so Bryant had his hands full. Conferring with Andrew Crawford at Australian A&H distributor TAG about how to approach a remote mix, he opted to work with Wellington-based Lampros Sound, which provided an Allen & Heath dLive DM64 MixRack at the venue that Bryant could control remotely from his Sydney studio. The DM64 was fitted with a Dante card for interfacing with the onsite AV network, plus a Waves card for virtual soundcheck and additional output processing.
The DM64 was connected to a dLive S7000 control surface in Sydney via a secure VPN connection, managed by Riverbed’s SD-WAN service, using the integrated network ports on both units. Luke Sheaves of Riverbed was on hand to provide IT and network support in Sydney, with Alistair Lambie of Lampros Sound monitoring the connection on the New Zealand end.
Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.
Audio and video monitoring of the broadcast feed in Sydney was provided via an SRT stream to Bryant’s iPad, arriving with under 150 ms of latency. Another tool put to use was Audiomovers software, fed by the Waves card in the DM64, which was used to monitor the Solo/PAFL bus with a latency of 200ms. The Intercom Unity app, running on a second iPad, was used to handle comms between Bryant and the technical team in the venue.
Back onsite in Wellington, another DM64 – configured for multi-surface operation – was used to handle both FOH and MON duties, with a pair of S7000 control surfaces deployed for engineers Andrew Forde (MON) and Simon Faisandier (FOH). Two DX168 expanders were added to feed performer IEMs and provide additional AV I/O, with Waves and Dante cards utilized for audio transport and additional processing.
“What started as an ambitious endeavor ended as a resounding success” reflects Rich. “It was a truly ground-breaking weekend, and we couldn’t have done it without the dLive, and the support provided by TAG, Lampros Sound and Riverbed.”
Bellevue Baptist Church’s 6,800-seat main sanctuary is now home to three DiGiCo Quantum7 mixing consoles and an extensive d&b audiotechnik line array system. Starboard & Port Creative
Los Angeles, CA (May 7, 2021)—Houses of Worship have always been a big part of the installation market, but they aren’t always the first projects that come to mind when the words “cutting edge” come up. That’s changing, however, as they are increasingly becoming some of the most forward-thinking adopters of new technologies. There’s several recent house of worship installations nationwide that highlight some of the latest products and technologies in wired and wireless audio networking and distribution.
Take, for example, a recent major renovation at Bellevue Baptist Church in Memphis, TN, which leveraged a campus-wide fiberoptic system to interconnect four DiGiCo mixing consoles and nine SD-Racks handling FOH, monitors and broadcast. According to Mark Coble, audio/acoustics design and commissioning lead for integrator Paragon 360, a BroaMan Optocore AutoRouter installed in the machine room is critical to uninterrupted connectivity.
A standard Optocore transport system operates as a loop that will run in the opposite direction if a connection is disrupted. But because the audio setup in the church’s Fellowship Hall is designed for frequent reconfiguration, says Coble, it was essential to guard against interruptions, not least because the broadcast console needs to ‘see’ every network input at all times.
“Our fear was that on Sunday morning, you’ve got 7,000 people in the Worship Center and someone goes into the Fellowship Hall to start prepping for an event. If they unplug a console or a stage rack, they could bring down the entire network,” he says.
But the AutoRouter is self-healing: “As soon as something is disconnected, it heals the loop instantaneously.” At Bellevue, there are two Optocore loops, he adds, since the total number of inputs exceeds the capacity of a single loop.
The Optocore AutoRouter is intended for audio systems and also offers Yamaha and Avid network card options. BroaMan’s version, Route66, also supports video routing and software-based fiber stream routing for broadcast and AV applications.
Summit Integrated Systems project manager Andrew Starke (right, black shirt and glasses) walks the Seven Rivers Church worship and tech teams through using KLANG:app on their iPads.
In addition to enabling houses of worship to make any audio source available anywhere across a facility, networking can also provide connectivity with satellite campuses. Watermark Community Church in Dallas, TX, shares services from its 4,000-seat auditorium with four other campuses, where the teachings are integrated into the respective live worship services at the remote facilities and are also streamed online.
“Rather than using mic splitters and a patchbay, we installed 112 SSL mic pres, so that it could all be soft-patched via Dante,” says Travis Brockway, founder of integrator Nexos, which also installed three FOH, monitor and broadcast SSL Live consoles at the church.
“When this system came online, we also implemented a new Dante network across the Dallas campus. It was a big switch—we replaced all the previous DSP and its Dante functionality throughout the whole facility. Everywhere there’s an audio console, it plugs in via Dante, so the Children’s Ministry’s consoles and everywhere there’s a sound system is all Dante capable,” he says.
“The main service also gets distributed around to what they call the Town Center—the coffee shop and gathering space in the middle—and a couple of overflow rooms” from the FOH console, he says. “There’s also the Chapel and the Loft, and all the children’s spaces; they’re all capable of getting an input from the main auditorium—and vice versa.” Office towers next door to the main Dallas worship center host Watermark’s mid-week and children’s and student services.
At Calvary Church in Santa Ana, CA, technical director Ryan Roehl installed five Allen & Heath DX164-W wall-mount DX expanders in ACE Backstage stage pockets.
It’s not unusual for facilities to integrate both a Dante network and another audio network—for instance, one associated with a specific mixing console brand—and bridge them via one device or another. According to research from RH Consulting, there are now just over 3,000 Dante-enabled devices available from 361 different manufacturers.
At Bellevue Baptist, says Coble, the Shure Axient wireless microphone system feeds the Optocore-networked consoles over Dante via a DiGiCo Orange Box. “There’s a very large Dante backbone to this system that runs over a traditional network,” he reports, adding, “We don’t allow that to jump onto other networks at the church.”
Onstage, 12 channels of playback from a Mac are fed over a Cat 5 cable to a convenient floor pocket. In an analog setup, he notes, that would have required 12 DI boxes and a bunch of cables. “Let’s say the keyboardist driving these channels moves to the other side of the stage next week. No big deal; it’s one patch away to the nearest floor pocket,” he says.
“It’s a game changer for thinking about how to transport audio. Network-based audio allows creativity and flexibility that would normally be really cumbersome in the old-fashioned analog infrastructure. It’s the anything, anytime, anywhere approach.”
Indeed, the flexibility inherent in audio networking is high on the list of priorities for Coble’s clients, he reports. “They’ll say, ‘One of our priorities is cable management. We want flexibility. We want to change our stage around without having to call guys in for two days to rewire everything.’ Networked audio becomes the solution for that.”
That kind of flexibility is on display at Calvary Church in Santa Ana, CA, where technical director Ryan Roehl installed five Allen & Heath DX164-W wall-mount DX expanders in ACE Backstage stage pockets. The church has an A&H dLive control surface at FOH with a DM32 MixRack in an equipment room below the stage. DX units connect via a single Cat 5e cable to a dLive surface.
“We were already familiar with what Allen & Heath calls their ‘Everything I/O’ collection of audio expanders, as we had a roving DX168 on stage for drum inputs and another rack-mounted at the booth for last minute I/O needs that pop up from time to time,” says Roehl. “Each pocket on stage fits the DX164-W, six power outlets and eight positions for Neutrik D Series connectors, of which we have one for the DX loop out, two for Dante connections and two for 3-pin and 5-pin DMX [Digital Multiplex].”
Cathi Strader, president, ACE Backstage, comments, “Our 174SLBK stage pocket system pairs up nicely with the DX164-W and a duo of 3-gang plates for onstage access to both digital I/O and additional customized connectivity,” combining DMX, Dante, power and AoIP in a tidy stage floor package.
Paragon 360’s Mark Coble at the DiGiCo Quantum7 in Bellevue Baptist’s broadcast control room. Starboard & Port Creative
It’s a simple enough matter with an audio network to quickly throw down a length of Cat 5 and add an I/O device in order to extend the reach of a system to, for example, hold an event in an outdoor area at a church. Networking also enables the expansion of the audio console setup to include options such as personal monitor mixing stations for the musicians.
Aviom, Hear Technologies, myMix and other Dante-networked personal mix systems have been around for a number of years, but more recently DiGiCo’s KLANG:technologies brand products have also been finding traction with houses of worship. The KLANG system offers musicians individual control of their monitor mixes using an iPad. Users can control not just levels but also immersive panning, allowing them to replicate the relative positions on the stage of their bandmates in their IEMs.
Florida’s 1,500-capacity Mosaic Church, in Winter Garden, recently expanded its KLANG system with a second KLANG:fabrik unit to provide the 12 musicians and vocalists with individual mixes from over two-dozen inputs. The church’s SSL Live FOH console feeds the personal monitor system over Dante, which is native to the KLANG units.
“That kind of digital integration with the console is also great from both an installation and operational point of view,” says Gil Parente, CEO of integrator AVnew. Parente says he has also integrated the same device into other area churches, including Orlando’s Whole Life Church.
The KLANG rig at Seven Rivers Church, also in Florida, is a little more complex, processing 64 inputs fed via an Orange Box to 16 immersive mixes. The analog stage outputs are routed to the rack of the A&H dLive console rack and then over a Dante network, via a DiGiCo DMI-DANTE 64@96 card in the Orange Box, to the console. Signals are sent from the console’s direct outs to the Orange Box, which is also fitted with a DMI-KLANG interface, then back to the console and into the musicians’ in-ear monitors.
Add a local area network to the installation and the capabilities of an audio system can expand far beyond the scope of this article. One relevant product, though, is the SSL TaCo (Tablet Control) mix app, which provides wireless tablet control of SSL Live consoles from iPad and Android devices. Musicians can download the app and control their individual mixes out of the Live series monitor console on their personal devices over the LAN. Alternatively, the mix engineer can use TaCo to control the entire console from a single remote device.
Perhaps more prosaically, Listen Technologies offers a product for assistive listening applications—beneficial to any church with an aging congregation or worshippers suffering hearing loss—that also leverages a facility’s LAN. The product, Listen Everywhere, enables congregants to listen to whatever audio the church chooses to broadcast, using a free app on their iOS and Android devices. While the service is an obvious choice for the audio source, one church in Utah reportedly used Listen Everywhere to enable members to participate in socially distanced bingo in the parking lot during the coronavirus pandemic.
FOH Engineer Daniel Ellis at the DiGiCo SD12 96 desk on Kim Walker-Smith’s tour.
Wichita Falls, TX (March 24, 2021)—CCM artist Kim Walker-Smith has been hitting the road to promote her latest live release, Wild Heart, with a series of “Worship Nights” mini-tours of large churches and Christian universities, all of which have been sold out to half-capacity per COVID protocols. Providing audio for the productions has been Wichita Falls-based Front Porch Productions.
For the tours, Front Porch Productions has been supplying a pair of DiGiCo SD12 96 FOH and monitor consoles sharing an SD-Rack equipped with 32-bit “Ultimate Stadius” mic pres on an Optocore fiber-optic loop, according to Front Porch co-owner Aaron Talley, who has also been serving as the monitor engineer for each of the four-show runs.
The front-of-house mix has been tackled by Daniel Ellis, who notes he’s been using DiGiCo fairly exclusively for a while now: “The SD12 is perfect for what we do with the number of inputs and busses it has, and its compact size helps us easily fit our touring package into one bus trailer. I’ve had a Waves server at front of house for Kim’s latest tours, but I’ve kept most of the processing on the console, which has sounded great. And Aaron and I have both been using DiGiGrid MGB MADI interfaces to get signals into REAPER for recording her shows.”
“Macros on the SD12 are also amazing,” he adds. “I don’t have any special ones that haven’t already been talked about a hundred times, but they’ve been raved about because they are so helpful to have in your workflow. One of my favorites is the one that bypasses all Waves plugins. I’ll do that every now and then during soundcheck just to make sure I’m not going down a plugin rabbit-hole and making the mix worse!” he laughs. “Also, I really love using MIDI to trigger things. It’s such a simple pleasure to fire a snapshot that can play a specific song on my laptop and turn up a fader without touching it.”
At the other end of the fiber loop, Talley, who is manning the monitor SD12 96 console, reports that the tours’ relatively sparse input count of only 36 channels is complemented by an equally modest count of six stereo IEM mixes on stage: two for vocalists, plus keys, electric guitar, bass, and drums. “This has been the lowest number of mixes that I think we’ve ever had, and the console can obviously handle much more thrown at it, but I’ve been really happy with how it’s performed. I’ve only used the desk’s onboard processing on my end—EQ, compression, and reverb—and the sound quality has been top-tier. Daniel and I have also really enjoyed the Con Send and Receive function on our consoles; we use it all the time and it’s an absolute necessity for us.”
Las Vegas’ Hope Church opened a new sanctuary in December, complete with an Alcons Audio system.
Las Vegas, NV (March 8, 2021)—The pandemic has been a dark time for many around the world, but for 4,000 worshipers in Las Vegas, Hope Church has been a bright spot in their lives during this time—so much so that in December, 2020, the church opened a new, 1,750-seat worship center and sanctuary, complete with an Alcons Audio pro-ribbon system designed and installed by Stark Raving Solutions (SRS).
Kansas-based SRS introduced the leadership of Hope Church to Alcons solutions at a demonstration event in Las Vegas a few years ago. When SRS suggested a system based on the double 8” LR18 compact mid-size line-array module and double 6.5” LR14/90 ultra-compact line-array module for the new worship center, the church readily agreed.
“The seating area is a large horseshoe/fan shape, nearly 230º wide, with heavily-raked seats. None is more than 90 feet from the central speaking position on stage,” says SRS’s church resource director Marcus Hammond. The system comprises a center cluster of eight and two side clusters of six LR18, plus two six-unit arrays of LR14/90 for side fills, powered and controlled by four 10kW Sentinel10 and one 3kW Sentinel3 amplified loudspeaker controllers.
“It’s really all about the pro-ribbon HF driver and its incredible clarity. These systems are so dynamic and low distortion at even the highest outputs. It really makes a big difference in the experience, which is what our clients want. The pro-ribbon drivers [were] a perfect match for the space.” says Marcus. “The church leadership is overwhelmingly happy.”
Christ Fellowship Miami in Florida updated half its locations with new L-Acoustics Kara systems.
Miami, FL (March 8, 2021)—Christ Fellowship Miami has a half-dozen South Florida locations and three of those sites—Palmetto Bay, Doral, and downtown Miami—recently updated their audio with L-Acoustics Kara sound systems designed and integrated by Colorado-based Summit Integrated Systems.
Christ Fellowship Miami multisite production director Garrett Siljee oversees all AVL-related matters for the church, including campus technology design planning and tech staffing. “One of my primary responsibilities is crafting the weekend experiences at all of our locations, and sound is a big part of that,” he notes.
Siljee says he was first introduced to L-Acoustics at a product demo staged at South Florida’s Miccosukee Resort & Gaming venue; impressed, he invited Summit Integrated Systems to demo a Kara system for the church’s leadership and staff at its Palmetto Bay location.
Systems for the Palmetto Bay, Doral and downtown Miami campuses were designed by Summit using L-Acoustics Soundvision modeling software. “The church wanted a high-output sound system in all of its locations, to support its music and high-energy worship style, and Kara was the perfect choice for all of these campuses,” says Summit’s director of projects, Deron Yevoli.
The concrete walls at Christ Fellowship Miami’s 500-seat Doral location keep the roar of nearby Miami International Airport at bay, but their reflective surfaces can present an acoustic challenge, so the Kara system’s directivity was applied to keep sound focused on the audience and off of the walls. The Doral campus’ new system comprises 12 Kara(i) enclosures flown across two arrays, with eight floor-mounted SB18 subs, plus eight ultra-compact 5XT and two short-throw X8 deployed as outfills. All are powered by one LA12X and four LA4X amplified controllers.
The nearby Palmetto Bay campus, which features a more traditional Baptist-type church design, also serves as Christ Fellowship’s broadcast center. There, 24 Kara(i) are now divided and flown in four hangs, with 12 SB18 subs on the floor, a dozen 5XT as frontfills, and eight X12 for delay, all powered by a 12 LA4X.
The downtown Miami location, a former cathedral that is now being renovated, is the largest of the three sites Summit has worked on with Christ Fellowship. Scheduled to open by Christmas 2021, the church’s third campus will feature an L-Acoustics system and be comprised of 18 Kara II and eight KS21i subs. In addition, eight 5XT provide frontfill while six X8 serve as underbalcony fills. The subs are powered by one LA12X, while seven LA4X drive the rest of the loudspeakers.
“Multisite churches tend to want to have cookie-cutter buildings so that the looks and the sound are the same everywhere, but that’s not easy to do in the Miami area, where the rents and the costs to own are so high,” Siljee explains. “Having the L-Acoustics systems sound very differently in each location was my biggest initial concern. Even though none of these spaces are at all similar, Kara provides very consistent sound for all of the rooms we’ve heard them in.”
“What everyone, including our membership, has commented on is that the sound no longer hurts. Our old system was very harsh sounding; the new Kara system is anything but. Now, our churches can create the kind of energetic worship experiences we want and it sounds great. Kara turned complaints into compliments.”
New York, NY (March 3, 2021)—KLANG:technologies has released its new KLANG:kontroller, a hardware controller that is compatible with all KLANG immersive in-ear mixing processors, and a new processor, KLANG:vokal, intended to aid musicians’ personal monitoring needs.
The KLANG:controller is essentially a standalone hardware controller that offers the same mixing functionality as the company’s KLANG:app, along with a Dante headphone amp. The unit provides tactile user control of channels, groups and immersive mixing via an intuitive interface that centers around color-coding and channel names.
Relative DCA group mixing and full single-channel control via eight push rotary encoders is onboard as well, with eight rotaries that allow musicians to balance their in-ear mix.
The onboard headphone amplifier delivers audio for in-ear monitors and high-impedance headphones, with both 3.5mm (1/8″) as well as 6.3mm (1/4″) stereo TRS connectors. Two XLR outputs can be connected to, for example, wireless in-ear transmitters. Installation-friendly features like Power over Ethernet, remote setup via the KLANG:app, and automatic Dante routing are included. KLANG:kontroller gives musicians full control of all relevant functions, while the engineer can still overview and control all mixes via the KLANG:app or DiGiCo SD or Q series consoles.
User Presets, plus USB import and export, are offered, allowing users to save personal presets, which can then be imported into the KLANG:kontroller, allowing the unit to be used by any number of musicians.
Binaural ambient microphones are built into the unit; they can be blended into the immersive in-ear mix, along with a local stereo aux input for, for example, a click track or playback from a phone. The mix can be sent back to the Dante network or, alternatively, the ambient microphones, or aux input can be shared with other musicians.
KLANG is also releasing a new immersive mixing processor, KLANG:vokal, which offers a dedicated feature set that allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Based on KLANG’s FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48 kHz and 96 kHz, including the company’s Root-Intensity EQs.
Good Shepherd Church audio team assistant manager Ji Hyeon-seok (left) and team leader, Kim Hyun-seok, with their new Allen & Heath Avantis console.
Bokjeong-dong, South Korea (February 10, 2021)—Local house of worship Good Shepherd Church in Bokjeong-dong, South Korea, recently updated the audio system in its secondary chapel, Glory Hall, with the new addition of an Allen & Heath Avantis console, along with a set of ME-1 personal mixers for the praise team. Despite the pandemic, both chapels are still in active use, though services are being held with reduced capacity.
The previous digital console installed in the Glory Hall had begun to show its age and was struggling to accommodate growing channel counts. Working closely with Allen & Heath distributor, Sama Sound, Good Shepherd Church made the upgrade to a 64-channel, 42-buss Avantis mixer, expanded with the dPack processing upgrade and a GX4816 AudioRack for onstage I/O.
Concurrent to the arrival of the new console was the implementation of a compact, discreet ME personal mixing system, replacing the praise band’s wedge system. Connected to the Avantis via a ME-U hub, a half-dozen ME-1 units allow the musicians to create their own headphone mixes. “Thanks to the ME-1 personal mixers, the sound on stage is well managed, making mixing easier, and the performers are comfortable because the sound quality is very high and they are easy to operate,” explains Kim Hyun-seok, leader of Good Shepherd Church’s audio team.
They aren’t the church’s first A&H consoles, either, as SQ series mixers were already installed in two spaces, with an SQ-7 console in the 300-seat Vision Hall, a multi-purpose facility used for youth worship, and an SQ-6 mixer installed in the praise team’s rehearsal space in the Church’s basement.
Jag Sound Productions owner Juan Gonzalez with a DAS Audio EVENT-26A loudspeaker.
Fresno, CA (February 8, 2021)—Cornerstone Church is a non-denominational / Evangelical house of worship that welcomes people from every walk of life. If you’re going to reach out to everyone, of course, you have to make sure they can hear you, and so the church recently upgraded its sound reinforcement system with a new audio system based around loudspeakers from DAS Audio.
Jag Sound Productions LLC, a design / build Pro AV integration firm, was contracted to handle the design and installation; owner Juan Gonzalez ultimately selected DAS Audio AERO-20, UX-218A, and EVENT-26A loudspeakers for the project.
The church’s sanctuary incorporates an 86-foot-wide stage area and from there, the room fans out to a width of 144 feet along the back wall, with a depth of 107 feet, making for a space that can accommodate 1,400 worshipers. Covering all that, the new sound system consists of 20 DAS Audio AERO-20A 2-way, powered line array enclosures—flown 10 loudspeakers per each side of the stage. Low frequency support is provided by four DAS UX-218A powered subwoofers, which are positioned two enclosures per each side of the stage. Each subwoofer includes dual 18-inch long excursion loudspeakers in a front-loaded crossfire configuration.
For front fill, Gonzalez also deployed four DAS EVENT-26A line array enclosures. “These loudspeakers were the perfect choice to cover the first one or two rows of seats directly in front of the stage area,” he explained. “Their small footprint doesn’t interfere visually with the activity taking place on stage and they do a great job filling the area between the left and right hangs.”
The new sound reinforcement system at Cornerstone Church was installed in January and was immediately placed into service: “Pastor Franklin tells me he is very happy with the new sound system. He said that numerous members of the congregation have noticed a dramatic difference as well,” said Juan Gonzalez. “The new DAS system makes a tremendous improvement to the sound throughout the room and, in the process makes services more engaging for everyone in attendance. It’s been a win-win for everyone involved.”
New York, NY (February 3, 2021)—This spring may not have all the usual trade shows and conferences in-person, but professionals across the pro audio and radio industries will gather together in April, as Pro Sound News, Mix and Radio World join forces to hold the first Pro Audio & Radio Tech Summit, an all-day virtual event to be held April 1.
“With the ‘return to normal’ now on the horizon, we have to start exploring how the massive changes we’ve made in pro audio over the last year will be incorporated into our ‘normal’ work going forward,” said Clive Young, editor of Pro Sound News. “The pandemic upended every aspect of how audio professionals work, but the industry rose to the challenge, changing established ways to fit the times while also creating new methods, workflows and tools to keep things moving forward. Our Summit, then, will draw insights from those trends and achievements, and look at how they can become crucial ingredients for continued success in the future.”
The free one-day event will feature an exhibition floor, panel presentations, chat rooms and a host of media presentations showcasing the latest technologies and trends in radio and pro audio. Pro Audio & Radio Tech Summit will feature two individual program tracks within a single exhibition hall. In each program track, industry experts will explore how manufacturers and users are making use of both current and emerging technologies in order to keep the media coming.
The Pro Audio Track will feature sessions on Remote Production, the multipurpose House of Worship studio, the rise of Immersive Music, Audio Networking technologies, and Improved Audio for Education. Through expert panel presentations, sponsor demos and attendee networking, Pro Sound News and Mix bring manufacturers, engineers, producers, musicians, educators and industry experts together to look at the state of music production as we come out of the most disruptive year in memory.
The Radio Track will feature sessions on hybrid radio, AoIP, virtualization, streaming, business continuity and trends in transmission. These topics will be of interest to any radio broadcast manager or engineer who manages technology or uses it to advance their careers and business missions.
Toronto, ON (January 11, 2021)—Yorkville Sound has released its new EXM Mobile Sub, which is reportedly the first-ever, battery-powered, portable, bass reflex subwoofer with Bluetooth technology.
Equipped with a pair of 8-inch woofers, the EXM Mobile Sub is intended for mobile musicians and DJs, providing them with the opportunity to do wireless gigs with substantial low end.
Weighing in at 30 lbs., the EXM Mobile Sub is compatible with all products in the EXM Mobile series, including the EXM Mobile, EXM Mobile 12 and the newly announced EXM Mobile 8, reportedly the first 3-way mobile battery powered speaker with an 8-inch woofer.
Jeff Cowling, Yorkville Sound’s vice president of Sales & Marketing notes Yorkville’s role in improving the battery powered portable technology at large, “Since the concept of mobile, battery-powered PAs was introduced, Yorkville was among the first out of the gate and the strongest to innovate the technology.”
New York, NY (February 3, 2021)—This spring may not have all the usual trade shows and conferences in-person, but professionals across the pro audio and radio industries will gather together in April, as Pro Sound News, Mix and Radio World join forces to hold the first 