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Category: Loudspeakers

  • Microsoft’s 2024 Technology Showcases Marked by Excitement, Backed by Cohesion PA

    Microsoft’s 2024 Technology Showcases Marked by Excitement, Backed by Cohesion PA

    In the past six months, Microsoft hosted two of its premier events, the developer-focused Build, and Ignite, the innovation showcase, both of which highlighted brand new products, bleeding-edge software, and technological expertise. Build, held in May at the Seattle Convention Center, and Ignite, hosted November 18–22 at McCormick Place in Chicago, were both supported by a versatile and powerful Cohesion PA deployed by ATK Audiotek, a Clair Global Brand.

    While Microsoft’s highly anticipated events were broadcast to hundreds of thousands of remote attendees, Ignite 2024 also sold out to 14,000 in-person attendees almost immediately. The company announced on Friday that Ignite will move to San Francisco for the first time next year, signaling likely plans to host even more attendees. Microsoft, which recently received a $3 trillion valuation, hosted in 1995 its first Ignite conference under the name “TechEd” and its inaugural Build in 2011.

    With significant focus on their industry-shaping speeches and presentations, these events have relied on Cohesion products for the past two years. Clarity and coverage are of utmost importance, particularly in the keynote halls, which seated 4,000 at Build and 6,000 at Ignite.

    “Microsoft’s motto is ‘see and hear.’ You must be able to hear those on stage as clearly as you see them,” explained Andrew Waterman, FOH Engineer and Senior Engineer, ATK Audiotek.

    “To Microsoft, audio is important,” said freelance technical producer Eric Batt. “These rooms are big conference rooms and halls with stages at the front, main screens on the stage and repeater screens, and a truss. Where do you hang speakers? How do you have coverage? We take up fly space with LED screens, so how do you minimize reflective surfaces and manage the PA?”

    Batt has worked on Microsoft events for thirty years, including the Windows 95 launch. He has been the technical director and producer for Microsoft events since 2008, and he and Waterman have frequently worked together on Microsoft’s annual conferences. “Microsoft leans on their vendor teams as arms and legs for the show—they approach vendors as production partners,” Batt said.

    At Build, ATK Audiotek deployed 32 Cohesion CO10 for the mains, comprised of four hangs of eight to optimize the available space without directing energy toward the video screens. “We had to be under the screens, and we could only wrap the arrays so much until we were back behind the screens again. The CO10 was perfect that we could hang eight cabinets and get a nice line length,” said Waterman.

    “We had low trim height, limited rigging points, and video walls. We needed even coverage, so we needed the Cohesion form factor to get up in the ceiling but also not shoot directly off a video wall and directly back onto a lav,” said James Ellison, Clair Global System Engineer.

    Six Cohesion CP218 II+ were deployed three per side in cardioid configuration, for low end and “even consistency from the inside to the outside seating,” said Clair Global Tour Support Coordinator Rich Schoenadel.

    Four Cohesion CO8 in a center cluster assisted in ensuring the “image was centered rather than being up front and relying on left-right clusters,” said Waterman.

    Ten Cohesion CP6+ across the front—six in the middle, two on either side of the stage to help bring imaging down to stage level in the first few rows—and an additional pair of CP6+ were used as near-field monitors.

    The delays, eight hangs of eight CO10 each, were the key to the Build PA. “We’re talking about 320–330 feet to the back of the room, but only about 30 feet to the system. It dictated a lot of the smaller hangs and delays,” said Ellison. “The PA tilt was undershooting the video wall; the delay hang acted more like a distributed audio system, not like a classic delay. With lower SPL shows, you can’t push the PA as hard as you could to get to the back of the room.”

    “The CO10 is full-range,” said Schoenadel. “You get that speech intelligibility and that impact, and even the widest side seats get full, proper audio.”

    “We got the low end we needed out of the CO10,” agreed Ellison. “Microsoft had some promotional videos with high production value where we want the room to rumble. We had CP218 II+ only in the front because we had that low end impact in the back of the room from the CO10. With the low ceilings, the form factor allowed us to get the proper splay angle with eight-box hangs and not lose the SPL that we needed.”

    Waterman summarized the value of selecting Cohesion for both Build and Ignite: “The quality it gave us, from rear rejection to ease of installation, made it the right choice.”

    “Cohesion is the easiest and fastest PA to fly,” Ellison said. “We can do unusual things like side-by-side double sliders because it has a lot of versatility. Everything, including infrastructure and cabling, was done in a handful of hours.”

    The PA deployed at Ignite featured 22 hangs of eight CO10 bolstered by a half-dozen CP218 II+ and CP6+ across the stage for front fill. Helping to ensure seamless coverage above the Keynote stage and ancillary stages were four hangs of eight CO8 as center clusters.

    “It’s a similar layout to 2023,” said Ellison, “but it’s a bit wider, so we added those extra CO10.”

    After the Day 1 keynote, the room was reconfigured into three discreet spaces for general sessions. In addition to the Ignite on-site audience, more than 170,000 watched via streaming broadcast. The most significant presentations focused on the power of team collaboration driving productivity via multi-platform use of AI, delivered by Chairman and CEO Satya Nadella, EVP of Experiences and Devices Rajesh Jha, EVP of Microsoft Security Charlie Bell, and EVP of Cloud and AI Scott Guthrie.

    “It’s important to be live and in person. Everyone wants to feel the energy of the stage,” said Waterman. “Things just happen when you’re in person. You walk by someone, you get to talking, and that’s how ideas form.”

  • France’s Biggest Ever Funktion-One Vero VX System Powers Madame Loyal Marseille

    France’s Biggest Ever Funktion-One Vero VX System Powers Madame Loyal Marseille

    Madame Loyal Marseille, a two-day indoor festival that combined theatrical performances and electronic music from artists such as Acid Arab, Vitalic and Worakls Orchestra, took place at the Parc Chanot on 29th and 30th November. Under the direction of Production Manager Aurel Quiévreux and Audio Engineer/Consultant Probe (Sebastien Jovys) and in collaboration with Concept Group, Alive and Funktion-One distributor for France Solution One, the show featured Funktion-One systems in both rooms.

    This included a Vero VX system in the main room (Grand Palais) with a 21 F124 cardioid bass array, Evolution X in-fill and PSM318 DJ monitors and an Evo 7T system with a 14 F124 cardioid bass array and PSM318 DJ monitors in the second room (Palais de l’Europe).

    Aurel, who has been involved in electronic music events since the 1990s, was keen to elevate the production to bring it in line with the quality and creativity of the Madame Loyal brand and its performers. “When I took over as technical director of the Madame Loyal festivals, I was determined to offer a visual, auditory and artistic experience that was close to the levels I had experienced at events in Holland,” said Aurel. “For this last Madame Loyal of the year in Marseille, I asked Probe, whom I’ve known for a very long time, if he’d like to join me on this event, knowing his great technicality and precision.

    “We immediately started talking about the constraints of the place and the disruption that could be caused to the local residents with the event taking place in an urban area. Once we’d drawn up the designs and checked the coverage and risks, Funktion-One immediately stood out from conventional line-array systems. For example, for a poorer result we would have had to use twice as many subwoofers with a different system. So, I gave Probe carte blanche to manage the whole audio side of things and to manage the team he needed to make the event a success.” In addition to the collective of French companies, Funktion-One’s Will Wright supported pre-show with system design and at the show with the deployment and operation. The Parc Chanot’s Grand Palais is a large, reverberant space, which gave the audio team one challenge, while the nearby residencies presented another.

    Probe commented: “Working in the Parc Chanot halls is always quite the challenge but being trusted enough to involve Funktion-One and knowing that we’d have full support from the brand, both before and during the event, were key to making this work. Madame Loyal offers an engaging spectacle for the audience but the venue acoustics needed to be taken into account to present an audio experience up to par with the whole production. We needed to control our vertical dispersion to avoid hitting unwanted areas like the ceiling and maximise rear rejection to avoid rear wall reflection. This was achieved with the use of the three wide, seven high asymmetrical bass array in a gradient cardioid configuration.”

    Funktion-One’s system design software ‘Projection’ was used to accurately model the performance of the system, providing rigging information and splay angles for the crew on site. VX M Beams were used for all four hangs to quickly and safely fly the system on single points with continuous tilt adjustment under load. The system processing was designed and built ahead of time using globcon, making the on-site setup quick and easy.

    “Projection was put to great use when testing different deployments,” said Probe. “The alignment values for the bass array it predicted totally matched our measurements on site. Having bands performing involved guest monitor engineers mixing right behind the sub stack, but the controlled directivity allowed for minimum spill, leaving their position relatively unaffected. globcon was the main system control software, providing ease of use and excellent control over 15 D100Q amplifiers fed with Dante and analogue redundancy. I think this deployment exceeded everyone’s expectations and we had nothing but positive feedback about the difference it made.”

    Madame Loyal Marseille proved to be an excellent example of what can be achieved with strong direction and positive collaboration. Reflecting on the event, Aurel. said: “The crew were perfect, both humanly and technically, and the meetings we had together with Probe ensured that the collaboration was smooth and without any unwanted surprises. The fact that Funktion-One supported and monitored the project from start to finish was a further vote of confidence and a huge opportunity for me. Thank you again for this collaboration, which will certainly continue.”

  • Sarah McLachlan Tour Achieves Sonic Ecstasy with Sustainable L Series Concert Sound System

    Sarah McLachlan Tour Achieves Sonic Ecstasy with Sustainable L Series Concert Sound System

    Earlier this year, Canadian singer-songwriter Sarah McLachlan embarked on a North American tour to mark the 30th anniversary of Fumbling Towards Ecstasy, her breakout third album. The 12-song collection sold over three million copies and teed up 1997’s Surfacing, the eight-times Platinum album that garnered McLachlan two Grammy and four Juno Awards and spawned several hit singles, including the now ubiquitous “Angel.”

    The Fumbling Towards Ecstasy Tour kicked off on May 25 in Seattle, Washington, and showcased the powerful capabilities of the largest L-Acoustics L Series professional sound system on a tour to date, comprising three L2 elements over one L2D per side, supplied by tour provider Solotech. L-Acoustics Kara II side-fill hangs, paired with both flown and ground-based KS28 subs as well as Kiva II front-fills, provided additional coverage on the tour, which visited major venues across the US and Canada, including Hollywood Bowl, Red Rocks Amphitheatre in Colorado, and Radio City Music Hall in New York City.

    Lee Moro, Senior Vice President at Solotech US Live Productions, recalls that Dan Cleland, McLachlan’s tour director and FOH engineer, called him ahead of the tour. “He said, ‘Get me a good system; I love L-Acoustics.’ And he said, ‘Get me a good console; I like DiGiCo.’ He gave me the ability to send something out that I thought was appropriate, because he values my judgment, and I value his. It’s great to have that kind of mutual respect and trust.”

    The L Series proved its exceptional power and clarity at the demanding Red Rocks Amphitheatre, where it made its debut at the iconic venue. “I’ve mixed at Red Rocks many, many times so I know the challenges,” Moro says. “It’s 300-plus feet to the back row, and with a dynamic show like Sarah McLachlan’s, where she’s sitting at a piano and whispering into the microphone, the person in the back row needs to hear just as well as the person in the front row.”

    After receiving assurances from L-Acoustics, he says, Moro sent the tour out with an L Series speaker system and a DiGiCo Quantum338 console at FOH. “From the accounts that I heard from our audio team and Dan, who was mixing the Red Rocks show, they had an amazing night,” he reports.

    Fred Cantin, Solotech’s system engineer on the tour, emphasizes the L Series compact design and lighter weight reduced the tour’s transportation footprint. In practical terms, Cantin, who has previously worked with Michael Bublé, Heart, Andre Rieu, Michael Jackson, and many others, reports that the L Series speakers made the job a little easier on this tour for him and the audio crew. An L Series system is easier to set up and tune, since it involves far fewer individual boxes and is designed with a fixed curvature—each L2 or L2D element is configured with a similar contour as four K2 elements. With a standard PA hang, the angles between each element in, say, a 16-box array all need to be calculated and individually set. But with L Series, he says, “You just send the boxes to the stage, the guys pin it together, lift it up in the air, we adjust the trim and the angle of the bumper, and that’s about it. For load-out, we just drop it, put it in the tray, and send it to the truck.”

    What’s more, he says, L-Acoustics design optimizes each L Series module’s performance as a single cohesive unit, rather than requiring each element to be tuned separately, as may be the case in a conventional line array. “They tune it so that, by itself, it responds well. When we add a second one, it will integrate itself. And when you add a third and a fourth, they all integrate well.”

    The result, Cantin quickly discovered, is seamless and even audio across the coverage area. “You have a consistent sound when you walk from the downstage edge all the way to the back of the venue,” he observes. “Normally, you would have fluctuations, and there are physical reasons that would explain that, but this system is extremely consistent and clean. It gives you a lot of space to do your mix, and your mix will sound great.”

    McLachlan, whose sales now total over 40 million albums worldwide, is considered a Canadian national treasure, not only by her myriad fans but also those who have toured with her. Moro, who had a brief opportunity to both mix FOH and tour manage McLachlan on a string of dates some years ago, says, “As a Canadian, I grew up listening to Sarah. She is one of the most amazingly talented artists and always has some of the most amazing musicians with her. She goes from a whisper to a scream and is every bit as massive and as whispery quiet as you can imagine. It’s a very tough gig as an audio engineer, but also one of the easiest gigs for an audio engineer, because she’s so good.”

    The new L Series was an ideal match for such a dynamic performer. As Cantin comments, “The rejection from the system is great when you’re onstage. The only place where we knew the PA was even on was when we did the beautiful but acoustically challenging Greek Theatre in Berkeley, where every sound that goes out comes straight back.”

    To capture McLachlan’s dynamic vocal performance, he continues, “We need a quiet stage, so there are no wedges or side-fills, and guitar amps are backstage in iso cabinets. There are a lot of condenser mics onstage, so everything bleeds. There is a grand piano that we mic and use live, but we can use the MIDI out of the piano. Mostly, if it’s only her and the piano, we use the acoustic piano, not the electronic version. But when there are drums, there’s a lot of drums in the piano, so for those songs, we rely on the MIDI.”

    “Because of the different sized venues, the system had to be versatile,” Moro sums up. This being a five-truck tour, size and weight were also factors, and the L Series elements are almost half the size and 40% the weight of a comparable multi-element array. “It checked a lot of boxes – superior sound quality, versatile coverage for different venues, and a reduced environmental impact. It was a match made in heaven to showcase this system because it delivered exceptional results night after night. And that’s what we strive for.”

  • Copenhagen’s Grand Joanne Hotel sets new standard with Genelec Smart IP solution

    Copenhagen’s Grand Joanne Hotel sets new standard with Genelec Smart IP solution

    Featured in Vogue, ELLE and Time Out, Grand Joanne Hotel is a stunning tribute to Scandinavian design, just a short walk from Copenhagen’s Tivoli Gardens. Reopened with a fresh vision from hospitality specialists Midstar AB, the hotel blends heritage, lifestyle, fashion, and design within a beautifully restored 19th-century building. At the heart of its new chapter is a state-of-the-art Smart IP loudspeaker solution from Genelec that delivers bespoke sound to every corner.

    Consultancy and integration firm Effektgruppen was tasked with bringing yet another ambitious vision to life for Midstar. The brief was for “uncompromised sound quality with a sleek design” and with the renovation complete, Grand Joanne offers guests a unique experience where food, drink, music, and culture converge. “We always begin by understanding the client’s expectations for both the aesthetics and functionality of the sound system,” explains Fredrik Nordström, project manager at Effektgruppen.

    “Initially, we designed custom loudspeakers that blended with the décor, but it quickly became clear that while they looked great, the sound quality wasn’t up to par. Pristine audio was a top priority for the hotel, so we decided to switch to Genelec. With their Smart IP networked loudspeaker technology, we knew we’d achieve premium sound that still looked great.”

    The comprehensive Smart IP system comprises 26 of the compact 4420 loudspeakers, 29 of the slightly larger 4430 models, plus seven 7050 studio subwoofers. These are strategically placed in all public areas, including the lobby, restaurant, bar and gym. “Music is central to the ambience at Grand Joanne, and it’s reflected in every aspect of the hotel,” continues Nordström.

    “Known for their unparalleled quality and innovation, each Smart IP loudspeaker operates on the network as an independent unit, allowing us to tailor the sound in each environment with precision. This ensures that every space in the hotel benefits from the highest quality sound.”

    Located in the lively Vesterbro district and surrounded by a vibrant community of bars, restaurants, and boutique stores, Grand Joanne reflects Copenhagen’s renowned creative, laid-back culture. The hotel’s 162 rooms, spread across six floors, feature a blend of Art Deco influences and Scandinavian simplicity.

    The hotel is also home to Joanne’s – a popular restaurant serving modern Italian dishes from breakfast through dinner – and a rooftop bar on the sixth floor, where guests can enjoy cocktails and light bites with views over the city. A yoga studio, gym, and several meeting rooms also benefit from Genelec’s advanced Smart IP audio systems.

    “In the lobby, we installed 11 Genelec 4420 Smart IP loudspeakers paired with two 7050 studio subwoofers. This creates an enveloping sound experience as soon as guests step inside, setting the tone for their stay,” says Nordström. “This same attention to audio quality extends to the bar and restaurant. Joanne’s features eight 4430 loudspeakers and one 7050 subwoofer, providing background music for daily service or live events, while the adjacent bar is equipped with seven more 4430s plus another 7050 subwoofer, for a seamless auditory experience.”

    “The whole system is built on a Dante® network with sound distribution run via a DSP from BSS. To fully optimize the sound experience, we used Genelec’s Smart IP Manager software to individually calibrate and tweak the delay and EQ of every loudspeaker. It’s an excellent tool and yet another benefit of using Smart IP. We also created some custom touch panels at various points so that staff can easily adjust sound levels. This is particularly helpful in the gym and yoga studios, as all AV elements can be modified depending on the intensity of the class.”

    Thanks to Genelec’s next-generation Smart IP technology, the system is not only high-performance but also highly efficient. “Each loudspeaker requires just a single network cable, which delivers power, audio and management – and this greatly simplifies the installation process,” Nordström adds. “This setup enhances the hotel’s design by keeping things sleek and minimal whilst maintaining a perfect balance between form and function.”

    The transformation of Grand Joanne is a testament to how design and technology can reinvent the guest experience. With Genelec’s Smart IP audio solution at its heart, the hotel delivers a consistent, high-quality sound that complements its bespoke interiors. By integrating state-of-the-art audio technology without compromising on aesthetics, Grand Joanne ensures that every detail – from the décor to the sound – contributes to an unforgettable stay.

  • Sonos to Launch Era 100 Pro, Its First-Ever Solution for Professional Installation, in January 2025

    Sonos to Launch Era 100 Pro, Its First-Ever Solution for Professional Installation, in January 2025

    Sonos, a sound experience company, invented multi-room wireless home audio, offering an unparalleled sound experience, thoughtful design, simplicity, and an open platform, allowing people to access and control their favorite audio content.

    Sonos announced Era 100 Pro, its first speaker optimized for professional installation in light-commercial and residential spaces. It features Power over Ethernet (PoE), a zones software update for multi-speaker control, and optional Surface Mounts for versatile installation. Pre-orders are open, with shipping starting January 28, 2025.

    Sonos expanding its presence in the $2B light-commercial audio market by offering a solution tailored for installers, simplifying setup and delivering high-quality, scalable audio systems for businesses and residential projects.

    Sonos today announced that Era 100 Pro, its first-ever solution optimized for professional installation in light-commercial and residential spaces, is now available for pre-order and will ship starting January 28, 2025. Exclusively sold in pairs through select Sonos partners specializing in professional installation, Era 100 Pro will be available alongside Era 100 Pro Surface Mount (sold separately), which delivers flexible mounting for a variety of layouts and applications. Zones, a new software feature that makes configuring and controlling multiple speakers easier and more customizable for larger spaces, will be available via a Sonos app update on iOS and Android at the same time.

    “Following our entry into the $2B light commercial audio market last year with Sonos Pro, our SaaS product for businesses, we are now making our hardware debut with Era 100 Pro, the first Sonos product designed specifically for professional installation,” said Patrick Spence, CEO of Sonos. “With a focus on creating the best solutions for our installer community, we have built a strong team of industry veterans across product, engineering, sales and more to lead our professional developments. In collaboration with our global partners, we’re committed to furthering our commercial business and offering new, much needed solutions to this market.”

    The solution has already received positive feedback from the installer community since its announcement in September 2024. rAVe [PUBS] named Era 100 Pro the Best New Audio Product as part of their 2024 Commercial Integrator Expo Awards, and Inavate named it an audio finalist in their 2025 Inavation Technology Awards, the winners of which will be decided next year.

    Built for Professional Installation

    With the rich sound, elegant design, and versatile control that Sonos is known for, Era 100 Pro has been specifically designed to provide a complete, end to end solution for professional installation.

    “Crafting custom audio systems is no easy feat. Dealers, distributors and integrators are tasked with recommending, curating and installing the best audio systems for their clients, which vary across a wide spectrum of needs, uses, budgets and layouts,” said Chris Heintzelman, VP, Product – Professional. “Sonos is delivering a new choice with Era 100 Pro, the company’s first solution specifically engineered for professional installation. We prioritized simple setup, flexible configuration and reliable ease of use, so installers can complete jobs more efficiently and deliver timely installation to their clients.”

    • Power over Ethernet: With one single cable that delivers both power and data, Era 100 Pro simplifies the installation process by eliminating the cost and complexities of having to install AC mains at each speaker location, allowing more unique configurations in various locations. Era 100 Pro is optimized for PoE+ but can also be used with standard PoE. With Power over Ethernet, business owners can utilize wired-first networking for enhanced reliability, speed and performance, while also seamlessly integrating into an existing network setup.
    • Customizable with zones: Introduced alongside Era 100 Pro, zones offers an easier and more customizable way to orchestrate and control larger scale installations. Users can configure speakers together into a predictable, unified entity, providing a more permanent experience that stays consistent throughout use.
    • Versatile Surface Mount (sold separately in pairs): Era 100 Pro Surface Mount boasts 30° pan and tilt ranges and 360° rotation, enabling installation in any orientation. Its indexed ball joint allows installers to achieve repeatable angles with precision, enabling fast deployment when mounting multiple speakers, while also ensuring the speakers won’t sag over time. Able to affix to virtually any surface, the mount can also accommodate hidden or exposed cabling, and has a locking base plate for theft deterrence.
    • Safety enhancements: Era 100 Pro has a built-in threaded insert and optional eyebolt that provides a secondary safety attachment point should building codes require it, helping the speaker withstand seismic events and avoid accidental damage. The hook receptacle increases stability when paired with the Surface Mount in non-portrait orientations.
    • Premium sound: Leveraging the same acoustic architecture as Era 100, Era 100 Pro provides high quality sound and impressive low frequency performance, unique within the PoE speaker category. With two 0.63 in / 16 mm silk angled high-frequency drivers and a 3.5 x 4.4 in / 90.8 x 111.9 mm carbon filled-polypropylene low-frequency driver, the speaker delivers rich sound across a wide 240° horizontal dispersion, giving broad coverage from a compact profile.
    • Sonos Pro compatibility (US only): Clients can control Era 100 Pro and zones directly from the Sonos app or Sonos Pro dashboard via a tablet or computer, allowing a seamlessly integrated business solution without needing additional control units or components.
  • Indiana University’s Jacobs School of Music Chooses L-Acoustics L-ISA Immersive Sound Experience to Teach and Enjoy

    Indiana University’s Jacobs School of Music Chooses L-Acoustics L-ISA Immersive Sound Experience to Teach and Enjoy

    Indiana University’s Jacobs School of Music has positioned itself at the forefront of immersive audio education with the installation of L-Acoustics L-ISA Hyperreal Sound Technology at its 1,460-seat Musical Arts Center (MAC). The new system not only delivers superior sound experiences for performances, it also provides students hands-on experience with technology that’s rapidly becoming the industry standard in professional venues worldwide.

    Modeled after New York’s Metropolitan Opera House, the MAC serves as both a premier performance venue and an advanced learning environment. Solotech performed the recent installation and system integration, based on specifications from project consultant Sound Associates.

    “We’re committed to giving our students experience with technology that’s defining the future of live sound,” says Michael Stucker, Chair of IU’s Music Industry Department and the Jacobs School of Music. “L-ISA is the future, and our students will graduate with a significant competitive advantage having worked with this system.”

    Investment in Student Success
    Domonic Sack, Executive Vice President of Sound Associates in New York and former Metropolitan Opera tenor, emphasizes the strategic importance of the installation: “Immersive sound has become essential in modern productions, from opera to Broadway. Students working with L-ISA are learning skills that will be crucial for their careers in theater and live sound.”

    “This is not just any school,” continues Sack. “Indiana University is one of the foremost schools in the world for music, and particularly for opera. Many of my colleagues did their musical training there, taught there, and coached there. The theatre was familiar with L-Acoustics and knew the support would be there when needed, so when I brought up the idea of L-ISA, they were very receptive.”

    Sack, who worked with noted Broadway sound mixer Ty Lackey (Roald Dahl’s Matilda: The Musical, Memphis) on the system design, says the potential for L-ISA immersive sound technology to enhance both the performances at the theater and the students’ abilities in their future careers is considerable. “Opera has an incredible storied past that should be built upon, and today’s composers are exploring new ‘colors’ and musical ideas—including immersive sound experiences, which are fast becoming a staple on Broadway,” he says. “Localization of sound on stage is something that audiences are coming to expect without even being aware of it. Students having the tools and becoming familiar with L-ISA will bring more than sound reinforcement to IU; it will help students create sound for the future of theater and opera.”

    Stucker, who is also an Associate Professor of Music in Audio Engineering and Sound Production, explains that the choice to move to immersive sound was clear, since this is the direction performance venues are moving in. “But it’s not a light undertaking, financially or technically, so we looked really seriously at several immersive system brands first,” he says.

    Cutting-Edge Technology Meets Educational Excellence
    L-ISA technology stood out for several factors, including the fact that the school has used L-Acoustics before, including a Kudo rig installed in its 3,200-seat IU Auditorium as well as ongoing system rentals, and found them to be dependably great sounding. “Reliability is especially important for immersive,” he adds. “Frankly, we’ve already seen some systems come and go. We were making a long-term commitment. We already have a technically advanced theater and the sound has to be at the same level.”

    The comprehensive system features five identical Scene arrays of five L-Acoustics A15i Focus over one A15i Wide each, spread out above the stage. Eight KS21 subs are flown in two hangs of two on either side of the center A15i array, while a single vertically-oriented A15i Wide per side is flown on the perimeters of the second and fourth A15 arrays to supply out-fill coverage.

    Fifteen ultra-compact 5XT coaxial systems lining the stage lip provide spatialized front-fill, while a pair of Syva colinear columns complemented by six X8 are in place for stage monitoring. The system is powered by seven LA7.16i amplified controllers and one LA12X. System management and processing is done via an L-ISA Processor II and the P1 Milan-AVB processor.

    Carrying a Sound Legacy Forward
    Aaron Beck, Solotech’s Business Development Manager, Sales and Systems Integration, was among those who previously attended the school. “As an alumnus of the IU School of Music audio program, I knew the venue and the requirements of a new audio system, and it has been a great honor to be part of this University upgrade, allowing students to now have access to the same technology Solotech uses on our largest tours and our educational projects worldwide,” he says.

    Solotech’s experience and relationship with L-Acoustics assisted in ensuring all equipment was available on a very tight timeline and installed to the specifications. The company worked closely with the IU team, Sound Associates, general contractor Weddle Bros., and Cassady Electrical Contractors to meet all project requirements. “As a result, the system has exceeded expectations, delivering the project from start to finish in less than six months, just in time for back-to-school,” Beck adds.

    Stucker notes that the shows produced so far with L-ISA, including weekly jazz performances and two operas, have been crowd-pleasers. But just as important is how the students feel about it—and they really like it: “The students have been engineering everything so far,” he says, adding with a faux lament, “All of us faculty are kind of jealous because we haven’t got to mix on it yet. The students are having all the fun.”

  • Nice Blends Best of Legacy Brands in New Line of Premium Toolless Speakers

    Nice Blends Best of Legacy Brands in New Line of Premium Toolless Speakers

    Nice North America, a subsidiary of Nice, is a manufacturer of smart residential, commercial, and industrial solutions. Headquartered in Carlsbad, CA, the company offers seamless technology for smart home control, security, and entertainment, and supports the Gary Sinise Foundation R.I.S.E. program.

    Nice has launched the Premium Toolless Speaker series, a new line of 14 in-wall and in-ceiling speakers across three performance levels, featuring advanced technologies like AccuAim Tweeters, XmaG-enabled tweeters, and ViseLock™ installation, aimed at simplifying setup and delivering high-quality sound for residential projects.

    The series simplifies installation and delivers premium audio performance to meet evolving partner needs. It combines 30+ years of legacy brand innovation under the Nice name, offering partners reliable, high-quality solutions for residential projects.

    Nice, a global leader in Home and Building Management solutions, today announced the launch of its Premium Toolless Speaker series, now available for pre-order. This line of 14 versatile speakers, announced at CEDIA, combines the technology and craftsmanship of legacy brands under the Nice name, giving partners a premium, streamlined audio solution for any residential project.

    WHAT: The Nice Premium Toolless Speaker series, created with feedback from the company’s channel partners, introduces a line of 14 speakers across three performance levels, designed to mix and match throughout the home. With features that simplify installation and deliver a robust audio experience, the new series is available in in-ceiling and in-wall applications. Key features include:

    • AccuAim Tweeters: Adjustable crossovers for customized sound with precision aiming, enabling installers to fine-tune audio to meet end-customer expectations.
    • 1¼ Aluminum Magnesium Alloy Tweeters: Larger, dynamic tweeters paired with XmaG technology for distortion-free sound quality.
    • ViseLock™ Designed by Swarm: Advanced technology that cuts installation time by up to 75%.
    • Faraday Copper Ring: Enhanced cooling system to prevent overheating, ensuring reliable performance.

    WHO: The Nice Premium Toolless Speaker line is designed for Nice partners, and combines over 30 years of legacy brand innovation, including the time-tested reliability of SpeakerCraft, to deliver cutting-edge audio technology built from the ground up.

    WHEN: Pre-orders for Nice Premium Toolless Speakers begin on Thursday, November 7, 2024.

    WHERE: Partners interested in pre-ordering the Nice Premium Toolless Speakers can contact their regional Nice sales manager or visit the Nice Partner Store.

    WHY: With the Nice Premium Toolless Speakers, Nice is setting a new standard in the premium speaker market. Designed to meet evolving partner needs, the speakers provide installers with a simplified, high-quality solution that offers clients an immersive audio experience throughout their homes. By incorporating the best features from the company’s combined history in the category, Nice delivers a portfolio of superior sound solutions that partners can rely on to meet any project requirement.

    QUOTE: “Nice Premium Toolless Speakers deliver an innovative audio solution that combines ease of installation with the exceptional sound quality our partners expect for their customers,” said Emanuel Bertolini, CEO of Nice North America. “This launch reflects our commitment to supporting our partners with innovative, reliable products that elevate their projects and help drive their business growth.”

  • Clair Global Amplifies Intuit Dome Fan Experience

    Clair Global Amplifies Intuit Dome Fan Experience

    Working with lead designer AECOM and Turner Construction, Clair Global Integration (CGI) was engaged to design and install innovate technical solutions to the Intuit Dome, the world’s most high-tech basketball arena, home of the LA Clippers.

    In addition, the $2 billion, 18,000-capacity venue announced Clair Global touring client,Bruno Mars, as its opening act, uniquely placing Clair’s rental and installation divisions in close collaboration for the Inglewood, CA, arena’s first live event.

    “The great thing about the LA Clippers is their dedication to the fans – as an organizationthey wanted this facility to engage sports and music fans instantly,” says CGI VP of Sports Integration, Demetrius Palavos. “Steve Ballmer, LA Clippers Chairman, has background in powerful technology and understands perfectly how it can become a lever to meaningfully interact with patrons. ”

    Ballmer’s dedication to invigorate the NBA team’s new home has been paramount. During the site build, he told a press conference: “You all, fans and players together deserve the ultimate home court. You’re going to have it and you’re going to have it here in
    Inglewood. ”

    Gillian Zucker, LA Clippers President of Business Operations adds: “Intuit Dome is the ultimate manifestation of Steve’s vision, everything a basketball arena, a concert venue, and a community center should be.”

    To help bring this eagerly anticipated project to fruition, CGI undertook an extensive scope of work which included the installation of the main JBL Professional bowl sound system, Q-SYS networking systems in the club spaces, practice courts, and locker rooms, integrating NEAT solutions for every conference room, national, and in-house ENG broadcast cable plant and distribution, ENG plant and cabling, CISCO IPTV systems, and AV over IP solutions.

    As with all CGI builds, there was a focus on the fan experience and how technology can enhance it. CGI was charged with implementing ADA – American Disabilities Act – panels for sight impaired fans in the club spaces and suites.

    “We’re a creative engineering company, we solve beyond audio and video,” Demetrius continues. “In conjunction with Storm LED panels, we created our own back-end software that interfaces with Q-SYS. In every suite and club space we have an ADA panel that connects with a Q-SYS touch panel. The ADA panel mimics the touch panel buttonsallowing anyone with a sight loss disability to control the sound and TVs for that area.”

    The visual experience is elevated by CISCO VisionEdge IPTV systems with BrightSign media players for every suite, club, office and broadcast/media space. Control of the displays utilizes Q-SYS Control Engines, and locations with touch integrated displays use Wipro VisionEdge- Go, an adjacent application that leverages VisoinEdge.

    The Intuit Dome’s exceptional new production facilities include a giant ‘halo’ shaped video screen which hangs centrally above some of the arena’s seating. This potentially large obstruction to great audio coverage required an innovative sound design, and to achieve optimum results, an inner ring of eight clusters was integrated to sufficiently cover the lower bowl, while a significant number of smaller line arrays cover the outer edge of the halo.

    “We worked with AV Consultant and Technical Designer Greg Swindle of WJHW on the overall cluster configuration and precise box angles; it was critical to ensure we were not putting any energy into the back of the LED video screen and causing reflections. Our job at Clair Global Integration is to make things work seamlessly, to make the technology a success from the first time the doors open,” Demetrius confirms.

    The JBL speaker solution comprises VTX A12’s in the center and VTX A8’s on the outer delays with PD500 large-format loudspeakers for upper delay fills.

    “From construction to production, we are always looking at the premier audience experience, whether that’s on the road or in an integration scenario in music, sports or themed entertainment,” explains Demetrius. “Using the envelope of state-of-the-art technology, we create experiences that make people want to visit again.”

    For Bruno Mars’ concerts, which took place over two consecutive nights, CGI worked with the “Uptown Funk” singer’s touring team, including Systems Engineer Matt McQuaid, to augment the fixed hangs with a concert-grade L-Acoustics K Series touring rig.

    Clair Global supplied main hangs of K1 and K2, KS28’s as flown subs, K1 and K2 for side hangs, K2 rear hangs, more KS28 cabinets for ground subs, and A10’s and A15’s for front fill reinforcement. The system was powered by 64 x LA12X amplifiers.

    Clair Global Account Executive for Bruno Mars, Robert Drewes, comments: “This was a very collaborative internal process at Clair, where a great synergy of our experiences and our expertise made this possible. The construction teams, architects, designers, venue and sports team ownership have truly done everything to ensure this incredible new building is the very best it can be.”

    This sentiment was amplified by Matt McQuaid, who comments: “The Clippers organization went above and beyond to ensure that our tour audio team felt comfortable being the first show in the building. Having the opportunity to both conduct a construction site visit and deploy the touring PA system early for testing set us up for success.

    “The halo presents a unique challenge for a touring systems engineer; with a standard end-stage position it can be difficult to cover the upper corners of the bowl. Having the opportunity to create a solution using the installed house system to reinforce areas which need extra help, and to make the transition sound natural between the two zones, was something we focused a good portion of time on.”

    Following the Bruno Mars’ concerts which commanded a star-studded audience, and even surprised fans with an appearance from Lady Gaga for duet “Die with a Smile”, Billboard wrote, “Mars is a once-in-a-lifetime performer, and his skills were on full display during the show.”

    In conclusion, Matt confirms: “The energy in the building was palpable. Seeing how happy the fans were to experience this show in a new space made it all worthwhile.”

  • Willow Creek Leads Worship Audio Innovation with L-Acoustics L Series Professional Sound System Installation

    Willow Creek Leads Worship Audio Innovation with L-Acoustics L Series Professional Sound System Installation

    Willow Creek Community Church, a pioneer in contemporary worship, has set the bar for audio excellence in houses of worship. In collaboration with integration partner Clark, the church recently installed a new L-Acoustics L Series loudspeaker system in its 7,200-seat auditorium—one of the largest of its kind in North America.

    The L Series system, featuring patented Progressive Ultra-Dense Line Source (PULS) technology, has transformed the worship experience at Willow Creek. Front-of-house engineer Fernando Gamas describes the upgrade as a “game changer,” noting significant improvements in coverage, clarity, and overall sound quality. “Our previous PA system, nearly 20 years old, struggled to provide full coverage for every seat. I had to run that system very conservatively, at around 88 to 90 dBA for services, to avoid complaints about the volume and the harshness of the sound,” Gamas explains. “With the L Series, we’re now able to run at higher volumes—averaging between 90 and 93 dBA, sometimes as high as 95—while maintaining an excellent sonic signature that’s smooth, clear, and engaging. Plus, intelligibility is maintained throughout every decibel level. Speech feels intimate and right in your face and music feels big and dynamic at any volume.”

    The new left-right system comprises hangs of two L2 over one L2D per side, driven by six 7.16i amplified controllers, paired with adjacent out-fill arrays of one L2 over one L2D, driven by four more LA7.16i. A dozen KS28 subs are split six per side and flown, complemented by a center cluster of six more KS28, all powered by three LA12X. Over 100 ultra-compact 5XT coaxials, plus nine A15i ring delay enclosures, are deployed out in the house to cover the massive balcony area, while a compact A10i setup onstage provides a monitoring system for the pastors.

    A standout feature of the L Series is its versatile directivity, uniquely allowing Willow Creek’s enclosures to use a combination of cardioid and supercardioid configurations, which reduces rear rejection by up to 15 dB. This capability is crucial for managing stage audio and enhancing spoken word clarity—a key consideration for Willow Creek’s diverse programming. “That’s a huge win for an organization like this with all of the speaking mics and other things that they have on stage, and it’s very helpful with the spoken word as well as music,” says Gamas.

    JB Bowling, Clark’s vice president, emphasizes the unique challenges and opportunities presented by Willow Creek’s auditorium. “When you consider the combination of size and seating, this auditorium is truly one-of-a-kind in North America. It’s got a 100-foot proscenium opening and an 80-foot fly house—it’s huge,” he notes. “L Series’ compact form factor and solid power output made it the perfect choice for such a distinctive venue. It didn’t affect any of the sight lines or get in the way of any of the line sets or moving bridges. Yet there’s enough displacement in those boxes that it was able to sonically cover this massive room. Small footprint, big displacement: perfect combination.”

    Willow Creek production director Dave Cooke says that the impact of the new system was immediately apparent: “Walking into the back of the auditorium during a Sunday service, I was struck by the incredible sound quality reaching all the way to the rear of the room,” he recalls. “It was everything we were looking for in a sound system.”

    For Gamas, the benefits extend beyond the main PA. He now uses a pair of X8i speakers as reference monitors at the FOH position, experiencing seamless transition between them and the main arrays. “The mixes translate perfectly between the nearfields and the main system, enhancing our ability to deliver consistent, high-quality audio throughout the venue,” he notes.

    The L Series installation at Willow Creek Community Church demonstrates how innovative sound technology can enhance the worship experience, setting a new standard for audio quality and coverage in large-scale religious venues. “L Series at Willow Creek sounds absolutely spectacular. L-Acoustics’ patented waveguides are just amazing, pristine, and clear. L Series is truly a product that delivers,” Bowling concludes.

  • L-Acoustics Kara IIi Professional Audio System Connects University of Maryland’s XFINITY Center with Exceptional Sound and Control

    L-Acoustics Kara IIi Professional Audio System Connects University of Maryland’s XFINITY Center with Exceptional Sound and Control

    Audio and video have long been the dynamic duo of immersive experiences, and the University of Maryland’s XFINITY Center arena has just orchestrated their perfect harmony. In a notable industry collaboration, Daktronics, renowned for its cutting-edge video displays, has teamed up with audio innovator L-Acoustics to elevate the fan experience for this year’s college basketball season. The newly installed L-Acoustics Kara IIi sound system works in concert with a state-of-the-art 12-display center-hung video system, offering fans a game-day experience that engages both ears and eyes. This audio-visual fusion, expertly integrated by Daktronics and unveiled in August, signals a new era in arena entertainment technology, setting a high bar for sports venues.

    “Daktronics has been integrating audio into its sports-venue video systems for years now, but this is the very first time we’ve collaborated with L-Acoustics for audio, and the result has been spectacular,” says Daktronics Audio Applications Engineer David Sturzenbecher. “The University had been using L-Acoustics components for its portable and temporary systems for some time in various applications, and they always had good experiences with them. So they brought L-Acoustics into the fold at the very beginning of this project.”

    The new sound system at the XFINITY Center, which hosts more than 100 events a year, comprises over 100 Kara IIi loudspeakers. The main system is made up of two arrays of 14 Kara IIi, plus six more arrays of 12 each, as well as four X12 speakers suspended beneath the center display for direct down-firing court coverage. And each of the arrays, which flank the four 18-by-21-foot main video displays and four 16.5-by-6-foot underbelly displays angled toward the side and end lines, are backed by a cardioid trio of SB18 IIi subs. A dozen larger KS28 subs are also part of the LFE design, and the entire system is powered by a combination of 16 LA7.16i and three LA12X amplified controllers.

    Sturzenbecher says that the deployment of the LA7.16i amplified controllers makes an important difference in signal management for the venue, with its implementation of the AES67 networking protocol. “AES67 allows us to easily integrate with the QSC Q-SYS Core network processors in the system, which gives the arena staff an improved ability to monitor and manage system performance parameters, such as driver impedance and amplifier health,” he explains. “L-Acoustics is more than just great sound; it’s also well integrated into the larger system.” And L-Acoustics offered still more. “The applications and sales teams were there whenever we needed them,” he says. “The support was excellent.”

    Josh Clayton, the University of Maryland’s Assistant AD, Broadcast and Video Operations, points out that while the XFINITY Center is home to the University’s Terrapins men’s and women’s basketball teams, it’s also competing with Big Ten and other college sports, as well as six professional sports franchises: the NFL Ravens and Commanders, MLB Orioles and Nationals, NBA Wizards, and NHL Capitals. “It’s a very high bar in this area when it comes to entertainment and sports experiences, and we knew we needed a serious ‘wow’ factor when it came to sound and video,” he says.

    Several different L-Acoustics models were considered for the line arrays, and Clayton says it quickly became clear that the Kara IIi were more than enough to meet that lofty goal. “We didn’t need to go for a full touring rig to be able to achieve tour-level sound quality using the Kara,” he says. “We knew we needed to make the experience here really impactful, and between the Kara and subs, we nailed it.”

    Like Sturzenbecher, Clayton is also a fan of how the new sound system interfaces with the QSC management system. “For instance, gymnastics is totally different from a basketball game, and they have very different audio needs,” he explains. “We need one set of speakers for the floor routines while the rest of the system has to provide highly intelligible speech to the audience areas of the venue. The way this system is set up, each line array has three individual zones that we can manage separately from each other, and it’s even broken out so that we can separate the main arrays from the subs and the center-hung array. So, for instance, we can turn on the X12 speakers and the subs as a separate system to cover the court for practices while the rest of the system plays other program material. We expected a lot from this sound system, and we got it.”