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Radio Kol Rega Upgrades with DHD.audio Desks

Posted on March 9, 2023 by Mix Staff

DHD SX2 console feeding wall-mounted configuration display. — DHD SX2 console feeding wall-mounted configuration show.

Jerusalem, Israel (March 9, 2023)—Lower Galilee-based Radio Kol Rega just lately up to date its studios with a brand new DHD.audio-focused set up dealt with by Jerusalem-based methods integrator Broadcast Design Ltd.

“Radio Kol Rega transmits throughout northern Israel from its studios at Beit Keshet,” says Micha Blum, founder and CEO of Broadcast Design. “It produces and transmits two channels, one in Hebrew and one in Russian, comprising music, discuss applications and regional information. The station commenced broadcasting in 1996. A DHD audio manufacturing system was chosen for the Russian-language channel when that went on air in June 2020. DHD gear proved a really profitable selection and inspired the community to exchange its previous analog desk with DHD digital consoles when the time got here to refurbish the principle channel.”

The major channel has one primary studio, one backup studio, one information sales space studio and one other analog studio; because it was time to refurbish the principle studio and the information sales space, the general goal was emigrate to a brand new expertise and structure whereas preserving the analog studios ‘as is.’

DHD.audio TX2 Multitouch Compact Mixer Debuts

All stakeholders opted for an built-in system centered round DHD merchandise and Dante audio-over-IP. A 16-fader DHD SX2 console with a DHD TX versatile contact panel was chosen for Studio 1 and a four-fader SX2 with I/O-Core for the information studio, each with Dante modules. Broadcast Design designed and manufactured customized panels with on/off button, talkback button and headphone degree management for each host and visitor, connecting on to the GPIO and DHD ACI modules.

He added, “Global assets comparable to off-air receivers, codecs and studio-to-transmitter hyperlinks have been linked to analog, AES3 and Dante converters. Every analog studio has an interface that makes it IP appropriate. Migrating to IP expertise simplifies the structure, provides connectivity and fixes lot of the noise and disturbance that have been skilled with the older system.”

DHD’s SX2 is a modular mixing console primarily based on a four-fader central module (52-5614). Each SX2 unit is a standalone table-top machine which will be chained with others to create a single mixing desk. The central module offers entry to crucial audio inputs and outputs. A microphone enter and headphone output are additionally included. Loudspeakers will be linked on to the unit.

World News

An Audio System that Belongs in a Museum

Posted on March 8, 2023 by Mix Staff

A Genelec Smart IP loudspeaker solution on a Dante AoIP backbone was installed throughout the Sámi Museum and Nature Centre in Northern Lapland. — A Genelec Smart IP loudspeaker answer on a Dante AoIP spine was put in all through the Sámi Museum and Nature Centre in Northern Lapland.

Lapland (March 7, 2023)—The Sámi Museum and Nature Centre in Northern Lapland not too long ago underwent vital renovation and enlargement to accommodate elevated customer numbers and to convey the institution into line with fashionable requirements. Aiming to match that with the most recent in AV choices, regional technical programs specialists Caverion Suomi Oy equipped and put in a Genelec Smart IP loudspeaker answer on a Dante AoIP spine all through the ability. Sound designer Aki Päivärinne from Oioi Collective dealt with sound design for the brand new displays.

The newly renovated museum constructing makes use of the most recent in museum know-how to showcase and have fun Sámi heritage, and the displays’ sound needed to fall in step with that ethos. “My transient was to recreate a soundscape reflecting the multifaceted sounds of nature in Lapland, and design a technical answer for it,” explains Päivärinne. “I knew that the open museum corridor setting could be an attention-grabbing acoustic and thematic problem since all the seasons are offered in the exact same room.”

Sámi tradition celebrates not 4 however eight distinct seasons which dictate the rhythm of life for Sámi individuals—and this knowledgeable the soundscape. “I needed to create a soundscape that might render a pure and genuine backdrop for the exhibition which places the Sámi tradition into context,” he continues. “Considering that the Sámi nonetheless dwell in shut reference to nature, an interaction between nature and tradition appeared like an acceptable place to begin.”

Genelec Turns 45, Goes on a World Tour

When it got here to implementing the sound design, Päivärinne famous, “I knew I might use Genelec loudspeakers as a result of when it comes to sound high quality, element and transparency, there’s nothing to rival them. It’s additionally a Finnish model…. It was additionally a foregone conclusion that we might be utilizing Smart IP know-how as a result of the newly renovated technical infrastructure of Siida relies solely on Ethernet cabling, making it very simple for us to plug into the identical community.”

Lauri Riihiaho led the crew from Caverion accountable for the Dante community and loudspeaker set up all through the constructing. He famous, “Our transient was to put in the loudspeakers and configure the community switches for Dante. We put in a complete of 30 4430s plus a pair of 8010s for one of many Sámi cultural shows and a 7040 subwoofer that performs out Sámi shamanic drum sounds. Genelec’s Smart IP Manager software program was used to configure the loudspeakers, which was very easy and saved us a number of time. We configured the switches, and every part labored completely. A Picturall Mark II media server outfitted with a 32 x 32 Dante card acts as the principle hub to run all the museum’s media content material. We related the loudspeakers to the Dante outputs of the media server and that was it; our job was carried out.”

Staff at Siida are happy with the outcomes. “We have elevated the realm of the constructing by 50 p.c, which allows us to do justice to the richness and variety of Sámi tradition and its intimate reference to the pure setting,” stated gross sales and advertising supervisor, Minna Muurahainen. “It was essential to us that, the place doable, we used manufacturers whose values mirror our personal, particularly on points like sustainability. Genelec clearly meets these necessities. We’re delighted with the brand new exhibition which makes use of the very newest know-how to coach and immerse our guests into the Sámi setting, which is immediately below menace and deserves a voice.”

World News

Creation X Recording Opens Doors Despite Pandemic

Posted on May 26, 2021 by ProSoundNetwork Editorial Staff

Wokingham, UK (May 26, 2021)—Nikki McGuinness had been planning for a while to build a new hybrid studio to house her music production business, Creation X Recording. Unfortunately, the construction project kicked off in March, 2020—just in time for the first UK COVID-19 lockdown. Undeterred, she forged ahead despite the pandemic and a literal fall along the way.

“As a recording artist turned producer / engineer, I know only too well how important the feel and position of a studio is. Acoustics are a given, but you also need to be in a location that both sparks and conceives ideas – and we think our family farm does just that,” said McGuinness.

The new room-within-a room studio, based in the grounds of 100-acre Birchin Inhams Farm in Wokingham, took 12 months to construct. McGuinness learnt what materials to purchase and built the whole thing, including all the internal acoustic treatment, with the support and expertise of her friends and contacts. Halfway through the project, however, she fell off a ladder while putting the bass traps in—the result was a 10-day stay in hospital and three months’ recuperation at home to let her broken leg and fractured foot heal.

Calrec installs Van Damme ethernet cables in UK demo facility

The 21 x 14-foot space is now up and running, offering flexibility for musicians in part through its VDC Trading custom-manufactured cables VDC built D25 multis made with Van Damme Blue 8 Pair, as well as both speaker and microphone cables of various length.

VDC created custom cabling for the facility based around its Van Damme Blue 8 Pair cables.

The various cables—Van Damme Blue Series 2 Pair, Blue Series 2×2.5mm and Purple and Black Quad—were chosen for their performance and toughness, and then hand-assembled at VDC using Black and Gold Neutrik connectors. All of the cables were custom-labelled to aid day-to-day use. “Once I had spoken to the team, I trusted them and it was obvious that I had to have Van Damme cables in my studio,” said McGuinness. “I am thrilled with the sound– it has a sonic quality to it and I know the cabling will last well into the future.”

“We believe that great things can be created here,” she added. “Building it was a labour of love and passion – and a lot of pain! I did a massive amount of research into the best leads on the market and was subsequently introduced to VDC by a well-known pro-audio engineer.

VDC Trading • www.vdctrading.com

World News

Moscow’s Izvestiнa Hall Reopens

Posted on May 25, 2021 by ProSoundNetwork Editorial Staff

A dLive S7000, performing FOH/MON duties, at Izvestiнa Hall in Moscow.

Russia (May 24, 2021)—The pandemic has shuttered venues for months worldwide, but as international vaccination rates begin to climb, slowly but surely, live sound and events are beginning to bounce back. That includes the music scene in Russia, where acoustic-rock band Affinage recently embarked on a tour of its homeland to support its latest studio album.

For much of the tour, the band carried an Allen & Heath dLive CDM32 MixRack with a laptop running dLive Director software for use at various stops. The group upped the ante, however, when it reached Moscow’s Izvestiнa Hall; there, local hire company Jamtech was brought in to supply the sound and lighting equipment for the biggest show of the journey.

“The band have a busy touring schedule that takes them across the country, and they’re usually comfortable running their dLive CDM32 system for consistency from show to show,” explained Andrey Balakhmatov from Jamtech. “However, for bigger shows, the band prefer to hire in a larger dLive system, which is simple for us as the show file is easily transferred between the systems.”

Remote-Mixing an Event 1,400 Miles Away

A dLive S7000 Surface was partnered with a DM64 MixRack to handle both FOH and MON duties from one system, with engineer Alexey Krivolapov tackling the mix.

“We’re always happy to deploy dLive consoles for events” Balakhmatov added. “The system has enough tools to solve any problem, it’s quick to navigate, and it’s easy to configure for the operator. Our engineers love the sound of the mixer.”

Allen & Heath • www.allen-heath.com

World News

2021 UK Record Royalties Expected to Drop

Posted on April 28, 2021 by ProSoundNetwork Editorial Staff

London, UK (April 28, 2021)—PRS for Music, which represents the rights of songwriters, composers and music publishers in the UK and around the world, distributed a record payout to members in 2020, but predicts that payments will fall at least 10% this year.

PRS for Music distributed a record £699.4m (roughly $945.5m) to its members in 2020, a year-on-year increase of 2% (£13.4m/$18.1m). But while distributions in 2020 were positive overall, many of the royalties paid out last year were collected before the first lockdown, meaning that the sharp decline in income will be felt by music creators through 2021 and beyond, with distributions expected to fall by at least 10%.

Overall, revenues collected from music being played in the UK and worldwide shrank by 19.7% (£159.9m/$216.2m) compared to 2019 to £650.5m ($879.9m), eradicating years of record growth.

Revenue generated from live performances of music represented the greatest percentage decline in 2020, falling by 79.1% from £54m ($73m) in 2019, to just £11.3m ($15.3m) in 2020. Of that revenue collected, most related to live music events staged towards the end of 2019 and in the first quarter of 2020, including concerts from The 1975, Stereophonics, Mabel and Madonna’s UK tour, where PRS members’ repertoire featured prominently.

Public performance revenue overall, which, as well as live music events, includes music used in business premises, shops, cinemas, pubs, clubs, hotels and restaurants, saw a significant 61.2% (£136m/$184m) downturn in revenue collected year-on-year, to £86.2m ($116.6m) in 2020, again due to business closure.

PRS For Music creates royalty dashboard for music makers

International royalty income continues to be the largest revenue stream for PRS for Music members, underlining the enduring popularity of British music globally, but still saw a 10.7% (£29.7m/$40.2m) decline compared to 2019 on a constant currency basis. A total of £248.6m ($336.3m) was collected through reciprocal agreements with societies around the world. One factor in this decline in international revenue, was the closure of the tourism industry; for example, with cruise ships not operating last year, royalty collections in this market reduced by 75%, from £7.2m ($9.7m) to £1.8m ($2.4m) in 2020.

Revenue generated from music played online was the only area to see growth in 2020, rising to £188.3m, a 5.1% (£9.1m/$12.3m) uplift compared to 2019. As well as increased revenues collected, distributions from online also saw the biggest uplift at 63.2% versus 2019.

Research from charity Help Musicians found that 9 out of 10 people who work in the music industry are in crisis, facing mental wellbeing challenges amidst concerns around their future livelihoods. To support members, PRS for Music, in collaboration with its charity partners PRS Members’ Fund and PRS Foundation, launched the PRS Emergency Relief Fund, and has since paid out over £2.2m ($3m) across 5,500 grants to songwriters and composers facing severe financial hardship because of the coronavirus pandemic.

PRS for Music • www.prsformusic.com

World News

Mixing X Factor Colombia

Posted on March 10, 2021 by ProSoundNetwork Editorial Staff

Freelance audio engineer Richard Cardenas handled live mixing duties for the show inside RCN Televisión’s studios in Bogotá. — Freelance audio engineer Richard Cardenas handled live mixing duties for *X Factor Colombia* inside RCN Televisión’s studios in Bogotá. EL_CHAMO

Bogotá, Columbia (March 10, 2021)—Like many TV shows, X Factor Colombia 2020 was interrupted by the pandemic last spring, part way into production. The show resumed after eight months, however, returning last October with strict precautions in place that ran throughout the rest of the season, which wrapped up at the end of the year. Throughout it all, freelance audio engineer Richard Cardenas handled live mixing duties for the show inside RCN Televisión’s studios in Bogotá.

Cardenas opted for an Allen & Heath dLive mixing system on the show, centered around a CDM48 MixRack controlled from a 36-fader S7000 surface. He managed all the contestants’ IEM mixes, plus FOH and monitor mixes for the contestants, judges and audience. The audio configuration in the studio consisted of an LR stereo matrix out, a matrix mono sub out, stereo aux mixes feeding side fills, a mono floor wedge setup and a stereo aux mix for the judges’ side-fill. For the earlier recordings, an audience PA mix was also fed to a stereo matrix. A DX012 12-output expander was employed to provide additional AES feeds to a 96 kHz loudspeaker management system. Cardenas also used a Dante 64×64 card to feed the broadcast desk using dLive’s tie lines feature, plus a superMADI card for backup recording to a Pixel Power system.

Allen & Heath Adds to Expanders’ Dante I/O Capabilities

Cardenas first encountered the system at a festival in 2019, where he mixed multiple Latin Grammy winners a few months before being approached to work on the TV show. “With dLive, I really felt like I was mixing rather than trying to figure out how to operate the desk,” he said, “so when I had the opportunity to work on X Factor Colombia, I asked RCN Television for a dLive system. We only had two weeks between delivery and rehearsals, but I had excellent support from Allen & Heath’s specialist in Colombia, Ivan Sanchez.”

All that allowed Cardenas to streamline his system for the broadcasts: “The DEEP processing emulations are excellent and sound very close to the real thing. The same goes for the FX. The EQs and preamps also sound excellent and dLive’s very low latency and 96kHz processing set it apart from the rest.”

Allen & Heath • www.allen-heath.com

World News

Taiwan’s KMC Gets First KSL Soundscape Install

Posted on March 10, 2021 by ProSoundNetwork Editorial Staff

Taiwan’s new Kaohsiung Music Center is the site of the first d&b audiotechnik KSL Soundscape installation. Topsound

Kaohsiung, Taiwan (March 10, 2021)—Taiwan’s new Kaohsiung Music Center (KMC) isn’t merely unique due to its shape; now it’s also the site of the first d&b audiotechnik KSL Soundscape installation.

The Kaohsiung Music Center, located in Kaohsiung, Taiwan, includes a vast outdoor stage HI-BREEZE Square, four auditoriums and a large main stage, HI-ING Hall, which is seen as the most important symbol of the entire park. The final auditorium is located outside the building on top of a bridge overlooking the Love River. The main stage there can be subdivided into smaller units, giving the center greater flexibility in its hosting capabilities.

In order to make the most of HI-ING Hall, the music center and supplier Topsound Audio used d&b Soundscape immersive technology and d&b KSL loudspeakers for the installation. The venue features seven hangs of KSL line arrays (five for the mains, and two for outfills) to provide full-band directivity control to the space, with the aim of providing the same sound to the entire audience, regardless of their location in the venue.

The venue features seven hangs of KSL line arrays Topsound

The Soundscape installation is powered by the DS100 Signal Engine, an audio system processor based on a Dante-enabled signal matrix. The technology’s coverage is controlled through its software module, En-Scene, a sound object positioning tool allowing the individual placement and movement of sound objects.

The venue’s asymmetrical construction was a challenge, with the additional concern that the entire venue needed to ensure optimum rear rejection, as it backs directly onto a noisy shopping mall. “We were concerned with the proximity of the shopping mall and needed to make sure that wouldn’t cause any issues during performances,” commented Kenny Liu, general manager of Topsound. “Everyone was absolutely taken aback by the exceptional rear rejection provided by the d&b SL-SUB Cardioid Subwoofers. It really helps us control the sound.”

Companies to Watch 2021

The center opened on Feb. 3, 2021, with a technology testing event held at the Hi-ING Hall. There, hundreds of music professionals were invited to hear the system in order to rigorously test and provide feedback on how the system handled multiple genres. While the d&b team could not be on site due to COVID-19 travel restrictions, all parties involved have vocalized extreme satisfaction with the training they received through d&b virtual webinars.

“We were supported by d&b every step of the way, and their online training initiatives taught us so much and ensured we felt extremely comfortable with the system,” commented Liu. “This is an extremely impressive looking venue, and we needed a sound system that would match, d&b gave us that and more, and we are very excited for audiences to experience this one-of-a-kind system in a one-of-a-kind venue.”

d&b audiotechnik • www.dbaudio.com

World News

Meyer Rolls into Warsaw’s Teatr Muzyczny ROMA

Posted on February 10, 2021 by Clive Young

A mainstay of Warsaw’s live music and theater scene, Teatr Muzyczny ROMA has netted a new Meyer Sound LINA system.

Warsaw, Poland (February 10, 2021)—Warsaw’s Teatr Muzyczny ROMA is well-known for hosting theatrical productions and concerts in non-pandemic times, and recently upgraded its audio reinforcement system with the aid of regional audio provider Polsound. The venue has a long history in the city, as it was first built in 1936 with a typical “Italian” style audience area, hence the name. As it was not destroyed in World War II, during the post-war era, it served as the temporary seat of the Warsaw Opera and later the Operetta. In 1994, it became the current Teatr Muzyczny ROMA. Most recently, it was hosting Elton John and Tim Rice’s AIDA, which will resume once the theatre is permitted to safely open.

Key to the previous live sound system was a sizable Meyer Sound system, which was installed in the venue for more than a decade; this time around, taking its place was another Meyer rig, this time comprised of LINA compact linear line array loudspeakers.

The new system consists of left-center-right flown arrays with 13 LINA loudspeakers each. Meanwhile, four 1100-LFC low-frequency control elements are flown in a two-by-two end fire configuration in the center of the stage, and additional low end is delivered through two VLFC very low-frequency control elements.

Meyer Sound Unveils Leopard-M80 Loudspeaker

Additionally, a surround system was installed along with the new main system to create an immersive experience for the audience, based around MM-4XP and MM-4XPD boxes for upper side booth fill and zone fill; UPM-1Ps for lower surround, UPJ-1Ps™ for middle surround, and UPQ-1Ps for top surround (across the first, second and third floors), plus two 900-LFC compact low-frequency control elements. Custom-color was applied to the surround loudspeakers to blend in with the building’s architecture. The private VIP loge seating areas are covered by three UPM-1P loudspeakers.

The theatre’s sound designer, Krzysztof Polesiński, changed the system design in the upgrade by adding a center array with the subwoofers flown on either side of the array rather than behind the left-right arrays. Polesiński said, “It was time to increase the center channel to the correct size, too, so now we have 13 boxes in every hang. I feel the center channel is very important, because you can make the positioning of the sound source better within the space.”

Meyer Sound • www.meyersound.com

World News

Flow Goes with SSL Origin

Posted on January 8, 2021 by ProSoundNetwork Editorial Staff

Flow Studios, a new recording facility based in France’s Loire Valley, has opened with a 32-channel Solid State Logic Origin analog in-line console in its control room. Nodal+Antoine Huot

Loire Valley, France (January 8, 2021) — Flow Studios, a new recording facility based in France’s Loire Valley, has opened with a 32-channel Solid State Logic Origin analog in-line console in its control room.

Studio owner Luke Aaron Clark reportedly built the studio control room to accommodate the Origin desk. The studio itself was designed by John Brandt, took three years to complete and involved modifying an old town hall.

“What I love about the Origin is that it gives me the ability to work with one artist in the control room, or to have a band or larger group spread out throughout the studio, with all instruments recorded simultaneously,” says Clark. “As a commercial studio owner, I wanted to create a beautiful space where an engineer or producer can get to work quickly. Thankfully, the engineering and design behind Origin is very intuitive.

Companies to Watch 2021

“The SSL Origin is set up as fully patchable, which provides a highly flexible workflow throughout the studio. We have 96 patchable audio lines accessed via wall panels located throughout the facility, while we also use the intelligent and intuitive bus routing on the SSL Origin to manage our dedicated hearback system.”

Clark says the console can create a comprehensive workflow: “For tracking, if someone wants to get a session up and running quickly, they can run everything through the desk and it all sounds harmonious,” he explains. “After tracking, the desk, outboard gear or trusted plug-ins can be employed for mixing.”

He adds, “I was already familiar with the snarl and crunch of the E series 242-type EQ. It gives some added weight and the ability to fine-tune during or after tracking. And the glue you get from the classic bus compressor is indispensable.”

Solid State Logic • www.solidstatelogic.com

World News

UK Music Report Aims to Revive Live Music Industry

Posted on January 6, 2021 by Clive Young

UK Music report United Kingdom (January 6, 2021) — UK Music, a trade organization representing a broad swath of the country’s music industry—studios, live music sector, artists, publishers, labels, managers and others—has released a new report, Let The Music Play: Save Our Summer, that highlights the damage done to the live music industry by the COVID-19 pandemic, and offers recommendations on how to mitigate and recover from those setbacks.

“We were a growing and thriving industry before the pandemic hit, and with the right support, we can be that successful and self-reliant industry again,” says UK Music chief executive Jamie Njoku-Goodwin in the report.

Live music is key to the UK economy, according to UK Music, stating that the live sector made up £1.3 billion of the UK’s £5.8 billion music industry in 2019. However, the pandemic brought that momentum to a halt, with a 90.2% drop in revenue for festivals last year, and up to 50% of the festival workforce laid off by year’s end. Facing similar challenges, “Grassroots Music Venues” saw a 75.2% drop in revenue with an adjoining 60.4% workforce layoff. All those closures worked their way back upstream to the artists themselves, who, the report says, lost up to 80% of their income due to the shuttering of the live sector.

Pro Audio Companies to Watch 2021

Rather than wring hands, however, the report looks at how the industry can move towards recovery before the pandemic subsides due to vaccinations. “The best way to support and protect the live music sector is to get it back on its feet and enable it to start generating income again,” says the report, going on to suggest methods for reducing risk of transmission at live music events, and exploring how to “operate in the current landscape in a way that is financially viable.” Methods suggested include adoption of rapid testing and industry-led proof-of-concept events; supporting use of improved ventilation and pathogen reduction systems in venues; and more.

While the report places much of the expectation of enacting these proposals on the industry itself, it also looks to the UK government for support and guidance, and requests a set date for full-capacity restart, a government-backed reinsurance scheme, targeted financial support, extension to the VAT rate reduction on tickets, rollover of the paid 2020 local authority license fees, and extension to business rates relief.

The full Let The Music Play: Save Our Summer report can be downloaded for free.

UK Music • https://www.ukmusic.org

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