Posts Tagged ‘Soundcraft’

HARMAN’s Soundcraft Si Performer 3 Helps Educate Seven Lakes High School’s Theatre Department

Scraft_SevenLakesKATY, Texas – Seven Lakes High School has one of the most prestigious theatre programs in the Houston, Texas region, while its Performing Arts Center (PAC) plays host to several school and out-of-house productions each year. The school recently purchased a HARMAN Soundcraft Si Performer 3 digital console for its educational theatre performances and technical theatre classes.

The Seven Lakes Theatre Program rents out its PAC to numerous out-of-house groups because it is widely known as the most professional venue in the area. “Most out-of-house groups rent our PAC because they know we run a professional space and the students I train are professional-grade student technicians that no one will find anywhere else,” said Joshua Heerssen, Seven Lakes High School’s production designer and technical theatre teacher. “Groups continue to spread the word: ‘I want to rent at Seven Lakes’ and even other schools want to come use our PAC for their performances.”

At Seven Lakes High School, Heerssen teaches technical theatre classes, which include hands-on training with everything that entails a theatrical production, including lighting and sound engineering. The Seven Lakes High School theatre program performs four to six large productions a year and shares the PAC with in-house groups, such as the school band or choir, as well as rents to out-of-house groups.

Keeping up with the forefront of technology, Heerssen looked to upgrade Seven Lakes’ analog audio console. “I looked into Soundcraft because we already owned a Spirit 8, so I understood the terminology and I really liked the way Soundcraft consoles are set up,” said Heerssen. “After I saw the Si Performer, I knew it would be the perfect board for our space and a great teaching tool as well.”

Heerssen replaced the PAC’s Soundcraft Spirit 8 soundboard with the Si Performer 3 after attending the TETA (Texas Educational Theatre Association) conference. “I saw the Soundcraft Si Performer on display and demo’d at the conference, and the first thing I noticed were the colored faders, and then to a have digital sound board at this price range with 32 channels of control made me look more intently at this console.”

Heerssen noted the Si Performer’s DMX interface, which allows for lighting control, was a key purchasing factor. “It definitely put a smile on my face when I brought up a channel for lighting on the sound board the first time in our PAC,” said Heerssen.

Heerssen uses the Soundcraft Si Performer 3 for large performances in Seven Lakes’ PAC and as a learning tool for his technical theatre students. “I chose the Soundcraft Si Performer 3 because my goal as a teacher is to make sure students learn the tools that will not only serve them well in college, but what they’ll need for professional theatre,” Heerssen concluded.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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HARMAN_GlobeLONDON, England – Over the years, London based live production company ARC Sound has produced many corporate functions in the Underglobe, the events space situated beneath London’s famous Shakespeare’s Globe Theatre. But since the reconstruction in wood of the original Elizabethan playhouse on the Thames South Bank, a full production set up has never been allowed, or indeed attempted, in the main theatre space itself.

However, all that has now changed. To celebrate the Bard’s birthday this month, a concert audio production set-up was allowed into the 1500-capacity space for the first time. As James Dougill’s company has a long standing contractor relationship with the venue, they were asked to plan and produce a working solution which would meet both the technical requirements of the performances, whilst also being sympathetic to the unique nature of the building.

Billed as ‘an evening of music and magic’ ARC Sound dipped into their extensive inventory, and deployed a JBL VerTec line source array loudspeaker system and Soundcraft Vi series digital mixing consoles as the key sound reinforcement components.

“This production was unique, as The Globe hasn’t allowed anything this ambitious to take place previously,” confirmed Dougill. “I am certain eyebrows were raised initially when all these flight cases started appearing in a venue made entirely out of wood. But the fact we were able to achieve this without creating any noise pollution was down to the detailed pre-production planning we undertook before the event.”

They also ensured that the main loudspeaker system complied with the maximum weight load of no more than a ¼-tonne to the oak beams in the theatre’s ceiling.

Headlining were The Magic Numbers, supported by singer songwriter Johnny Flynn, along with magicians Barry and Stuart, Piff The Magic Dragon and Chris Cox. With the exception of the Magic Numbers all other performances took place on an oval thrust, which was in front of the main loudspeaker array hangs.

For the main PA, ARC Sound suspended two symmetrical hangs of six JBL VERTEC® VT4887A compact line array elements, with two pairs of JBL VT4880A subs recessed under the stage apron. Each driver was individually addressed to provide alignment delay in a mini-cardioid configuration. Added to this were two fill clusters, each comprising three JBL VRX928LA Constant Curvature loudspeakers.

The ARC Sound director explained the rationale behind the design. “Although the throw distance was quite small, the coverage we required was steep—and since we were unable to suspend any further weight from the theatre ceiling, we opted for sharply angling back the VRX clusters. The key criteria here was the vertical coverage required to distribute sound evenly from the downstage edge right up to the third tiered balcony.”

The system was set up using a combination of the VERTEC LAC2 (JBL’s dedicated line array calculator) and Smaart field analysis, coupled with the company’s own extensive experience of deploying and using the products.

With a thatched open roof, James Dougill was mindful of the potential hazards of sound spill encroaching onto the Thames. “I wanted to get the boxes up into the air, focussed downwards, rather than on the ground pointing up,” he said. “Monitoring the volume during the show was more a question of using common sense than the SPL metering and LAeq measurement equipment we’d set up.”

At front of house ARC Sound fielded their Soundcraft Vi4, with 64-channel software upgrade, while down at the stage Raghav Narula was responsible for all of the onstage monitor mixes (also operating at near 64-channel capacity on one of the company’s Soundcraft Vi1 consoles).

James Dougill mixed the house sound, before creating a generic FOH set up (and an external rack of FX) for The Magic Numbers’ sound engineer Max Bisgrove — but instead, Max preferred to use all the desk’s internal reverbs and FX.

Summing up, Dougill said the quality of the amplified sound could hardly have been better. “The full range of VERTEC and VRX loudspeakers we stock gives us a very broad tool set to work with, and can be consistently relied upon to deliver.  Their profile was ideally suited to this application, and if the glowing comments we’ve received about the sound quality are anything to go by, we got it right.

“It was a huge privilege to have been involved in this project — and The Globe were so delighted they are already talking about the next event.”

JBL and Soundcraft products were originally supplied to ARC Sound by HARMAN’s UK distributor, Sound Technology Ltd.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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HARMAN’s Soundcraft Helps Seal LCGC’s Place in Guinness Book of Records

Raphael Williams with the Soundcraft Vi6 console.

Raphael Williams with the Soundcraft Vi6 console.

LONDON, United Kingdom – HARMAN’s Soundcraft helped The London Community Gospel Choir (LCGC) into the Guinness Book of Records last weekend when experienced sound engineers Raphael Williams and monitor engineer Nikoma Bell specified 96- and 64-channel Soundcraft Vi6 consoles respectively to mix the largest gospel choir ever assembled on a stage.

The event was to celebrate LCGC’s 30th anniversary—with a 3-day series of performance and workshops at London’s South Bank over the Bank Holiday weekend. The highlight was the concert at the Royal Festival Hall on the Sunday, and since this was being multi-tracked for a live album and DVD, recording engineer Simon Changer also had a third, remote 96-channel Vi6, isolated in the back control room.

In order to beat the previous record of 1,138 voices singing together in concert conditions, LCGC invited 30 other gospel choirs from across Europe to participate, so that the front tier stalls of the hall also became a performance area for the extended choir (leaving the audience to occupy the balcony/under-balcony seats and upper tiers). The show included X Factor runner-up Jahmene Douglas and Magic FM DJ Angie Greaves — and the existing record was broken thanks to an ensemble of 1169 vocalists performing simultaneously.

All the sound equipment was provided by Richard Nowell Sound Systems (RNSS), who have also installed a series of Soundcraft Vi series digital desks into the South Bank venues. The choice by Williams and Bell to use the Vi6’s was a no-brainer as both are staunch devotees of the platform, and have previously used this winning combination on tour with TinieTempah.

“In fact it was Nikoma who first introduced me to the Vi6,” exclaimed the FOH engineer. “Since then I’ve become a Soundcraft man through and through.”

With a strong background in church music, he had been contacted by the Choir “because they knew I had an understanding of their requirements.” He started out with a minor role back in 2010 before choir principle, Rev Bazil Meade, earmarked him for the lead role for this project.

While the choir itself, directed by Becky Thomas, features 50 singers, the prospect of micing up nearly 1200 vocalists created a number of logistical pressures as he set about providing a large inventory of industry standard close and ambient/overhead mics from the RNSS inventory.

Raphael, who also acted as overall technical adviser, explained the challenge he faced in compacting his line inputs. “First of all I put together a complete list of what could happen in a perfect world; we started at 150ch consisting of band, acoustic section and vocals, with 40 direct mics, and a further 48 dotted around the hall. But closer to the time I reined it in and made it more realistic in keeping with the 96ch desk count, with nine direct mics for the main members of the choir and 12 large diaphragm mics for the remainder. These are dotted around the stage for the choir to look more artistic.”

He ended up filling his Vi6 to capacity with 30 band and 21 LCGC mics, plus four radio and 24 mics for the extended choir, eight ambient mics within the room and some playback tracks from the hard disc recorder.

“What I like about the Vi series is ultimately the sound, which is clear, crisp and clean.  The gain structure allows you enough headroom, in a sense the more you put in the more it gives out.”

“I also like the usability — it’s very easy to move around on and because of the Vistonics [interface] each screen is independent and so you can do two things at once — it makes things flexible.”

With the channel count that was required to handle the recording workflow of 96ch to a MADI device, he had to think carefully about his card configuration. “To get all 96 ins and 96 outs I had to swop some of the cards to get more MADI outs,” he explained.

Raphael’s solution was to design a 4-card MADI card configuration based on 64ch In, 32ch Out (Card 1); 32ch In, 0ch Out (Card 2); 64ch In, 64ch Out (Card 3); 24ch In, 32ch Out (Card 4).

This provided 184ch In workflow (but only 96ch active at any one time), and 128ch Out workflow (but only 96ch active at any one time).

However, after considering his dilemma, Raphael acknowledged with a smile, “Nikoma probably had it tougher than me, mixing monitors down at the stage.”

The monitor engineer himself commented, “The Vi6 is always my desk of choice; there are other great desks out there but I can configure and use the Vi with my eyes closed, often getting 80% of the mix sorted via the offline software before even switching the desk on. It sounds amazing too!

“The ability to configure the show offline really helped on this occasion due to the channel count. I was using every input and output, seeing 64 lines from stage then 12 return lines from FOH, as well as my effect returns and local inputs. But as I could configure the console on the train to rehearsals it saved a lot of time, allowing the band to get on with what they needed to do.”

The final word came from Musical Director/Production Manager, Ayo Oyerinde. “The Soundcraft Vi6 was the central hub that enabled us to break the world record for the largest choir ever. From FOH, monitors to multi-track recording, the Vi6 took care of it all with the highest quality sound.”

The event was promoted by LCGC with MVLS Music.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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Scraft_KenNewmanDALLAS, Texas — HARMAN’s Soundcraft continues its popular “Mixing with Professionals” (MwP) series with a stop in Dallas, Texas on May 15, 2013. MwP offers tips and tricks about using Soundcraft Vi Series consoles from some of live sound’s most accomplished engineers. Ken Newman, front of house engineer for Barry Manilow and owner of Newman Audio will conduct the Dallas sessions.

Ken Newman is currently on tour with Manilow and has done live sound for Chris Isaak, Anita Baker, Stevie Nicks, Liza Minnelli, Paul Anka and other top performers. No stranger to a front of house console, Newman began mixing sound in 1972 as a teenager and hasn’t stopped since.

Newman will give MwP attendees in-depth training on the Soundcraft Vi Series consoles in a classroom atmosphere that allows plenty of hands-on training. If participants bring a USB stick they can save their settings and take them on the road for their next gig, or keep working on their settings using the Soundcraft Virtual Vi offline editors, which is available free on the Soundcraft website.

“I really enjoy doing the Soundcraft ‘Mixing with Professionals’ seminars and so do the attendees, who learn a lot about using the Vi Series consoles in the real-world of live performance,” said Newman. “There’s no console I’d rather have in front of me than a Soundcraft Vi6—it puts everything I need at my fingertips and let’s me handle the most demanding live mixing situations with complete assurance.”

The MwP sessions will be held on May 15 at Dobbs Stanford Corporation, 2715 Electronic Lane, Dallas, TX 75220.

Two time slots will be available from 9:00 am – 12:00 noon and from 2:00 pm – 6:00 pm. The course is free to attend but registration is required and space is limited. Details are available at usa.soundcraft.com and participants can register via e-mail at Soundcraft-usa@harman.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for year ended June 30, 2012.

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HARMAN’s Soundcraft Si Expression 3 Takes Center Stage at The Parker Playhouse

Scraft_AntonForesta copyFORT LAUDERDALE, Florida – Parker Playhouse first opened its doors in 1967 and has played an important role for performing arts in the Fort Lauderdale community ever since. The performance venue, now managed by Broward Center for Performing Arts, fully seats 1,168 and hosts concerts, plays, musicals, and other events. Anton Foresta, Head Audio Engineer for Parker Playhouse and owner of Anton F. Audio Design, recently purchased a HARMAN Soundcraft Si Expression 3 digital mixer for use at Parker Playhouse, as well as other one-off events.

Parker Playhouse hosts various productions for the Fort Lauderdale area and needed a digital mixer that would fit its needs. “We host everything from a single mic production, like a comedian, to a full band. The Parker Playhouse just recently hosted comedian Jim Breuer and Alan Parsons before that,” said Foresta, who is also a touring FOH engineer for “Arrival—The Music of ABBA, Direct From Sweden.”

Foresta required a console offering user-friendliness and excellent sound quality both for personal use and at the Parker Playhouse. “I wanted a small-format console that I could have for myself. I came across info on the Si Expression 3 online and as soon as I read about it, I knew that was what I wanted,” said Foresta. “I have always been a Soundcraft fan. Their consoles provide tremendous ease of use, and even during the transition to digital they kept the consoles simple, especially with their Si Series.”

Since he began using the Si Expression 3, Foresta has appreciated its performance and unique features. “Everything has been solid. I like the I/O, the 32 inputs and 16 outputs. Having a graphic EQ on every single output is an advantage that’s unique to this board as well,” said Foresta.

“At this price for a Soundcraft console, nothing compares,” Foresta concluded. “The preamps on the expression sound fantastic. I’ve used all types of consoles and this is the best-sounding console I’ve found in the small-format category.”

HARMAN (www.HARMAN.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

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