AVNation TV

Category: Corp

  • CTI Acquires Candeo Vision of London, United Kingdom

    CTI Acquires Candeo Vision of London, United Kingdom

    CTI, the largest privately held audiovisual integration and events provider in the U.S., has acquired Candeo Vision of London, UK. The company boasts an outstanding reputation in AV integration, and its locations in London and Nottinghamshire mark CTI’s first presence in the UK. CTI currently serves customers worldwide as a member of the PSNI Global Alliance and across the US.

    Location:         CTI London, UK
    Address:          Third Floor, 20 Little Britton, London, EC1A 7DH
    Phone:            Toll-Free: (800) 743-6051
    Email:              info@cti.com

    “In their nineteen years serving clients across the United Kingdom, Candeo Vision has built an excellent team and a great reputation,” says John Laughlin, CEO of CTI, “I’ve grown to admire the company through the work we’ve shared as members of the PSNI Global Alliance. They’re the right people to bring CTI into the UK, and I look forward to seeing them grow and prosper with the resources that CTI brings.”

    About CTI

    CTI delivers world-class audiovisual, IT, and unified communications (UCC) solutions, including engineering, design, installation, integration, maintenance, and service. Headquartered in St. Louis, Missouri, CTI serves customers in the US from 40 locations, two locations in the UK, and worldwide through the PSNI Global Alliance.

    The largest privately held AV integration and events provider in the United States, CTI has served clients in the corporate, education, higher-ed, healthcare, house of worship, government, sports, and broadcast markets since 1988. From a single room to the largest Fortune 100 companies, the team at CTI has the experience and expertise you need for a successful integration.

    For more information, contact Tobi Tungl, Chief Marketing Officer | press@cti.com

  • RF Venue wireless audio essentials deliver invisible performance at The Jacquelyn

    RF Venue wireless audio essentials deliver invisible performance at The Jacquelyn

    The Jacquelyn is a luxurious private social club, described as “a larger-than-life legacy piece left to the Sacramento community by a husband who loved his wife,” the late Jacquelyn Anderson, who was a passionate and talented photographer. Sacramento Production Services (SPS), a regional provider since 1991 of full entertainment production needs with an emphasis on audio rentals, sales and installation, was called upon to implement The Jacquelyn’s AVL infrastructure, which included wireless audio essentials from RF Venue to enable dropout-free wireless microphone capabilities facility-wide.

    A long-time client of SPS made the connection between the firm and The Jacquelyn project, says Keith Wackford, SPS’s lead designer. “In our first meeting with the design team from The Jacquelyn, it was apparent that audio, video and lighting would be extremely important to the ground-up build. The facility showcases all of Anderson’s work – over 80,000 plus digitized images and artwork being displayed on a two-story LED video wall located in a glass atrium that is visible from the street, as well as on 17 LG video monitors (eight of those roam the facility). The mandate was “not to impede the vision of the artist, Maren Conrad,” who was in charge of the project. “Maren is an amazing artist as well and a longtime friend of Jackie,” says Wackford. “Our team set out to design a world-class AVL system using some of the best products that the industry has to offer.”

    “The design and installation had many challenges along the way, as most projects do,” says Wackford. “For us, it was about keeping up with the ever-evolving onsite changes, the wants and needs of Maren and her overall vision changes during the middle of construction. I was introduced as the guy that makes all of Maren’s crazy ideas happen, which makes me feel pretty good that we were listening and taking care of the client’s wants and needs.” The wireless audio demands of the project evolved during construction. “As the project continued to expand,” Wackford elaborates, “we went from one wireless mic channel to be used in one room into two wireless channels to be able to be used in any of the four special art and event rooms across the two floors, from the Wine Bar to the Black Box, the Gallery to the unique Library. The ability to have the microphones available for hassle-free use was important, as there would be no full-time AV personal on site. With a facility of this type, the appearance was the number-one priority when selecting any product that would be visible in the rooms. This is where RF Venue really shined, with their Diversity Architectural Antenna. Being able to be painted and just disappearing into the ceiling and walls might seem insignificant to some, but to this client, it was huge. Knowing we have both the technology and aesthetics from companies like Void, LG and RF Venue, really led to our success on this project.”

    With antennas spread across four different rooms, an RF Venue 4 ZONE active antenna combiner was deployed to remove any complexity from combining the four Diversity Architectural Antennas to feed the dual-channel Shure ULXD wireless receiver, giving users the freedom to easily move between the facility’s spaces. “With the addition of band pass filters from RF Venue this added a bit of extra security to eliminate unwanted signals,” Wackford elaborates. “The entire AVL system is controlled from multiple 10-inch touch screens from Symetrix. We have a wireless routing page allowing for the two wireless microphones to be routed to, and controlled in, any of the four rooms. This ensures that only the wireless that is allocated for that room and that event is available, eliminating the ability of turning up a microphone in a room not being used.”

    Wackford gives credit to the entire team – Brian Webber, on-site programmer; Nic Danielson, Symetrix and Visionary Solutions, off site programmer; Sacramento Production Lighting for lighting design and programming; and Alive Media as the on-site installation team – for a successful install. “How you know you have a happy client,” Wackford concludes, “is when they go into the Glass Box where the two-story LED wall is installed, kick the music to 11 over the Void speakers and dance in front of beautiful images in celebration of Jacquelyn Anderson and all the hard work of the entire build team. This is one project we will be super proud of for years to come.”

  • Worley Sound Becomes L-Acoustics Certified Provider, Supports Mitski’s Tour Evolution with LA7.16-powered K Series Professional Sound System

    Worley Sound Becomes L-Acoustics Certified Provider, Supports Mitski’s Tour Evolution with LA7.16-powered K Series Professional Sound System

    Nashville-based Worley Sound has achieved L-Acoustics Certified Provider (CPr) status, immediately putting its new designation to work on Mitski’s expanded North American tour. The critically acclaimed singer-songwriter’s outing, initially set to conclude in April, grew to include a second leg of dates in August and September, featuring larger venues such as a three-night stand at Merriweather Post Pavilion, Morrison, Colorado’s Red Rocks Amphitheatre, Portland’s Moda Center, two nights at Berkeley’s Greek Theatre, and concluding at L.A.’s Hollywood Bowl. This expansion necessitated a shift from relying on house PAs to carrying a dedicated system, leading to the deployment of a comprehensive L-Acoustics K Series package powered by the new LA7.16 amplified controllers, giving the tour a newly expanded fidelity in these venues of up to 20,000-capacity.

    The tour’s growth mirrors Mitski’s rising popularity and the increasing scale of her performances. “For the first leg of the tour, we were reliant on house PAs, which, despite the inconsistency, tends to be a good way to test drive systems,” explains FOH engineer Patrick Scott, who has been with Mitski since the spring of 2022. “For the first few months, we used just about anything you can put sound through. For the current run, we knew it was time to carry our own PA.”

    The decision to partner with Worley Sound and utilize the L-Acoustics K Series came after careful consideration of the tour’s evolving needs. Scott continues, “Through prior experience and conversations with Worley, we decided on K Series. The main reason people come to these shows is their connection with Mitski. With this system, we’re getting that intimacy and clarity while still having the space in the sound field to show off the arrangements and subtleties of the musicians.”

    The system consists of 32 K2 for mains, 24 K3 for out-fills, and a quantity of Kara II paired with 16 K1-SB and 16 KS28 subs, plus eight A10 front-fills and four A15 stage side-fills. Notably, this marks the first tour to travel with a K Series system driven completely by LA7.16. Subs are driven by LA12X amplified controllers. Two P1 processors and an LC16D drive all the controllers in a redundant Milan-AVB network, with analog as the fallback system. Utilizing the M1 measurement suit capabilities of P1 allows system engineer Eric Rogers to quickly and effectively time and tune the room.

    Rogers, who has also recently been out with ODESZA and Bon Iver, elaborates on the system’s capabilities: “The single box resolution of K Series driven by LA7.16 allows us incredible gains in precision for the SPL target spanning our listening audience. With the high resolution and implementation of the latest auto-filters, the definition in the LF response of the array from top to bottom is quite impressive.”

    The versatility of the L-Acoustics system has proven crucial for accommodating the tour’s diverse venue requirements. “This system scales rather nicely,” Scott notes. “Not only can it scale in size, but we’re also drastically changing acoustic environments from theaters to arenas to sheds, and the system works well in all of these configurations.”

    Monitor engineer Ashoka Kanungo, while not directly in front of the PA each night, appreciates the consistency the new system brings to the tour, with the K1-SB flown behind the K2 to control LF energy. “It’s been very helpful having the same system show to show,” she shares. “When we weren’t carrying PA, I was constantly battling the different sub configurations—there were a lot of center-flown subs—and that impacted the band’s experience onstage. It’s been so much easier having the same setup and Eric as our SE to help with that.”

    For Mitski’s production manager, Nick Hardy, the choice of Worley Sound as their provider was equally important in supporting the tour’s growth. “At the end of 2023, Patrick and I were having conversations and getting audio bids from most of the major players,” says Hardy. “A colleague had great things to say about Tom (Worley) and his approach to audio and business. In our first conversations with Tom, we knew that we wanted to work with Worley. His wealth of knowledge and attention to detail are impeccable.”

    Tom Worley, CEO of Worley Sound, sees the investment in L-Acoustics as a strategic move for his company’s growth. “Having focused primarily on bespoke control packages for the last three years we felt the demand to deliver a full-service audio offering without having to rely on sub-hiring. Adding the K Series system to our inventory not only allows us to compete in a larger market, but also gives us the ability to nurture our clients on a similar growth trajectory. We are delighted to be an L-Acoustics CPr. This strengthens our long relationship with L-Acoustics and reinforces our network in North America and globally.”

    Backed by seven musicians playing a variety of instruments, Mitski presents a multi-faceted show, but from Scott’s perspective, it is largely about dynamics. “There are pin-drop-quiet moments, big anthemic parts, and most stops in between,” he notes. “L-Acoustics’ K Series is really good at transitioning from one dynamic moment to the next and showcasing the detail in each. There is clarity, and a very specific smoothness as well. This tonality is incredibly sympathetic to the approach of the production in the sense that feels timeless rather than overhyped and crispy.”

    As Mitski continues to captivate larger audiences, the partnership between Worley Sound and L-Acoustics ensures that her performances are delivered with the clarity, power, and nuance they deserve, marking a new chapter in her touring career and setting a benchmark for audio quality in live music productions.

  • LeTourneau University’s Belcher Center Gets Great Sound and a Perfect Fit from L-Acoustics K3 Concert Sound System

    LeTourneau University’s Belcher Center Gets Great Sound and a Perfect Fit from L-Acoustics K3 Concert Sound System

    Nestled in the East Texas town of Longview, the LeTourneau University Belcher Center has garnered high acclaim for its arts and cultural programming since opening in 2007. The 2,011-seat, multilevel venue is one of the most appreciated destinations in the area for all types of productions – including national tours, concerts, lectures, and university chapel – and serves as the home for many arts organizations in Longview and the East Texas area. Recently, Belcher Center experienced a complete AV overhaul, guided by integrator Solotech, which positioned the Center as East Texas’ most sought-after live event destination for the 2024-2025 season and beyond. The centerpiece of that upgrade is a new L-Acoustics K3 sound system.

    “We host dozens of types of events here – from lectures to rock concerts, the venue is always working,” explains Belcher Center Technical Director Anthony “Fro” Horner, further citing the two local symphonies in the area, several dance companies, and the University’s own events, including graduations. “The upgrades to our entire system has given us the leverage we needed to become the best performing arts center in East Texas. Since the upgrade, the caliber of artists and shows we present to our area patrons has increased to a whole new level,” adds Belcher Center Executive Director Cody Bowen.

    The Center also hosts touring companies, such as the annual Nutcracker! Magical Christmas Ballet each fall, and concerts such as LeAnn Rimes and Zack Williams. “Those tours typically carry their own sound, and that was where we really noticed that our previous PA was not up to par. We realized we needed one that would support and complement the nice natural acoustics of this room.”

    Horner and his team reached out to Solotech Business Development Representative Tom Stotler. “Belcher Center’s older center-cluster system forced them to rent extra equipment for many of their productions,” says Stotler. “They requested a new system that could cover every seat in every level of the venue without being overpowering. The new system also had to meet the rider requirements of touring shows.”

    Having heard the power and clarity of L-Acoustics in the center when it was brought in by touring artists, Horner knew that K3 would do all of that, and more.

    Working from a design provided by L-Acoustics using Soundvision software, which Stotler says virtually recreated the facility “down to the foot,” Solotech installed a system comprising left and right hangs of 12 K3 loudspeakers and six KS21 subs per side, with a pair of A15 acting as a center cluster. In addition, there are 14 compact coaxial 5XT arrayed across the front of the stage as front-fills, activated when the orchestra pit is not being used for a performance or event. Four larger X8 are installed per side as side-fills, arrayed to cover the front areas of the second and third seating levels. The system is powered by four LA7.16i and three LA4X amplified controllers, while four more LA4X power eight additional X8 deployable as stage monitors. A P1 processor at FOH drives the system over Milan-AVB.

    The K3 system sounds great and solved several design issues, including having the hangs configured so the lower boxes act as front-fills when the orchestra pit is in use. The compact footprint of the K3 with KS21 flown behind them allows the hangs to be repositioned via an automated lift as needed in a tight area in front of the venue’s 60-foot proscenium arch. Horner describes the barely six-foot clearance to the back of the stage that includes a solid one-foot-thick movable fire wall that also has to fit in there. “The subs are part of the J curve, which is not something you see often,” he says. “But they made it so that everything fits and works perfectly.” Stotler chimes in, “Now, they can get the sound where it’s needed without having to resort to a crazy amount of processing, and the entire PA can be moved as needed, giving the venue even more performance flexibility.”

    Horner says that the switch to K3 has revitalized the venue. “Everyone has noticed how much the experience has improved,” he says. “The new sound system has made Belcher Center even more enjoyable for audiences and performers alike.”

    “Our goal was straightforward: to integrate state-of-the-art sound technology that would elevate every performance and create an impressive experience for the audience,” Stotler adds. “Through our partnership with L-Acoustics, LeTourneau University, and the Belcher Center, I’m proud to say we’ve achieved just that.”

  • Cage The Elephant Keeps the Sound Big and Studio-Perfect on Their Neon Pill Tour, Thanks to the Fourier Audio transform.engine

    Cage The Elephant Keeps the Sound Big and Studio-Perfect on Their Neon Pill Tour, Thanks to the Fourier Audio transform.engine

    From their beginnings in Bowling Green, Kentucky Cage The Elephant have gone on to become one of their generation’s premier rock bands, earning dozens of Gold, Platinum, and Multiplatinum certifications as well as two consecutive Best Rock Album Grammy Awards. But they are best known and celebrated for their highly physical live performances. The stage, they like to say, is their home turf, where they are most comfortable, ecstatic, and unchained. That’s clear on their 45-show Neon Pill tour, which kicked off on June 20 in Salt Lake City, with shows in Seattle, Los Angeles, Chicago, New York, and numerous other cities. What those audiences are able to experience this time, however, sounds as close to the band’s recordings as possible, thanks to the inclusion of one of the first Fourier Audio transform.engine units to hit the road in the US on a major tour.

    A Dante-connected server designed to run VST3-native software plugins in a live environment, the Fourier Audio transform.engine brings premium studio software to live sound and broadcast applications. The new device gives engineers and creatives access to the very best studio-grade processing on a robust platform that is specifically designed for the rigors and complexities of live productions. Cage The Elephant’s front-of-house engineer, Ashton Parsons, added the transform.engine to the control package for the tour, which includes a DiGiCo Quantum338 FOH console he’s piloting and a DiGiCo Quantum5 desk used by monitor mixer Patrick Moore, all provided by Clair Global.

    “The transform.engine was on my radar when it was first announced and I put in a request for it back in April when I was spec’ing gear for the tour,” Parsons recalls. “And just before the first festival dates ahead of the tour — the first one was Hangout in Gulf Shores, Alabama in mid-May — Clair approved the software and hardware for touring. I am super grateful to have had it. So many audio nerds have come up to ask me questions about it on show dates and online once word got out that I had it.”

    Parsons has been able to utilize virtually his entire array of preferred plug-in processors. These include the Fab Filter Q3 dynamic equalizer that he’s applying to most of the guitars as well as the master bus. “I’ve also been using some of the Audioscape plug-ins, Brainworx/Plugin Alliance, and Sound Theory’s Gullfoss Live low-latency resonance-suppressor plug-in, because with this band, there’s a lot of crazy intentional noises happening on stage, and it’s keeping those in check,” he says. “They’re a rock and roll band — there’s no click and they have a lot of guitar pedals the band is always changing their settings. There’s a lot going on in terms of tonality, so having the ability to process them using some more advanced plug-ins that previously hadn’t been available live has been fantastic. In addition, I’ve been able to make use of plug-ins that they used in the studio to recreate certain vocal effects for this tour, which they’ve been very happy with.”

    In fact, that may be the transform.engine’s single most revolutionary contribution to live sound: providing the ability to bring studio-grade plug-in processing, latency free, to the live stage. Parsons says he has to be aware of the inherent delays caused by the processors themselves, but that the transform.engine adds none of its own, allowing him recreate much of the band’s recorded sound on stage. “For a lot of modulation effects, or the specific slap-back delay/distortion combination that they used on the new record, being able to have their recording engineer send me the preset for that was great,” he says. “It’s a terrific tool to be able to play those new songs and the fans immediately feel familiar with it.”

    Parsons says he’s looking forward to integrating Fourier’s new v1.2 Cuelist software, specifically allowing users to recall cues (aka snapshots) over a MIDI connection from either a mix console or show-control software, in the near future, further enhancing those capabilities. “I’m still on transform.engine v1.0 software at the moment, as I got one of the first units that Clair shipped out after they were satisfied with the software being stable, back in May. I don’t like updating firmware mid-tour, just in case something goes awry, but I will be taking it out on the next leg of shows and I’ll definitely get it updated to v1.2. Having Cuelists will be awesome. I’m also looking forward to that functionality where I’m able to click the channel and the plug-in pops up on the screen at the desk with the snapshots and other parameters.”

    As important, he says, is the support he’s getting as a new user on a new platform. “Fourier Audio’s support has been top-notch,” he says. “I’m able to have direct access to their knowledge base, and when any small issue or unknown has popped up, they’ve been able to get me fixed up in under an hour.”

    And as if to underscore the transform.engine’s own robustness and reliability, Parsons recalls his first use of it at the coastal Hangout festival as he’s about to step out the door to leave for the Oceans Calling Festival in Ocean City Maryland, just as Hurricane Helene was heading up the eastern seaboard. “It survived one beach in May and it’s going to get one more beach coming up in Ocean City at the end of September,” he says. “I’m sure we’ll make it through that, too.”

  • Vanderbilt’s FirstBank Stadium Opens College Football Season with a New L-Acoustics K2 Professional Sound System

    Vanderbilt’s FirstBank Stadium Opens College Football Season with a New L-Acoustics K2 Professional Sound System

    “Putting sound into a large college football stadium is always about punching all the way to the other side of the facility, but also sounding good doing it, which is why we landed on the K2,” comments Ben Boeshans, Senior Consultant at Salas O’Brien, which designed and specified the L-Acoustics sound system installed at Nashville’s FirstBank Stadium, just in time for the start of the 2024-25 college football season. “It puts the sound exactly where it’s needed.”

    FirstBank Stadium, home to Vanderbilt University’s Commodores, boasts more “firsts” than its name suggests. Opened in 1922 as Dudley Field, this 40,000-seat venue was the American South’s first stadium built exclusively for college football. The Commodores’ influence extends beyond the field: Their leadership pioneered the modern scoring system, advocating increasing touchdowns from five to six points and reducing field goals from four to three.

    As a concert venue, FirstBank has hosted shows for the Rolling Stones, Luke Bryan, and the Dave Matthews Band, among many others, over the years. As venerable as the venue is, it still needed to have its sound brought into the 21st century, and that process was primarily completed in late August, with the installation of a new L-Acoustics K2 sound system, designed by consultancy Salas O’Brien and installed by Brentwood-based integrator CTS AVL.

    “FirstBank Stadium boasts a rich history that sets it apart,” remarks CTS AVL Vice President of Integration Neal Watson. “While its design may echo other college football venues, recent renovations have significantly enhanced the fan experience. New seating areas were added near the north end zone, where a state-of-the-art PA system is also installed. The primary goal was to ensure excellent sound coverage for all seats, blending the stadium’s storied past with modern amenities.”

    That system now comprises 24 K2 enclosures in left/right arrays in the north end zone, below which are hangs of four A15 speakers per side, deployed as fills for the seating below. Low end is boomed out by 16 KS28 subwoofers. The K2 and A15i are driven at single-box resolution via LA7.16i, and the KS28 subwoofers are driven by LA12X.

    While FirstBank Stadium shares design elements with other college football venues, it stands out through its rich history and thoughtful modernization, embodying the evolving spirit of collegiate athletics. For instance, says Boeshans, throw distance and the amount of volume necessary can make speech intelligibility a challenge. “In stadiums, echoes are your biggest enemy. The key is precision: put sound where you need it, keep it out of where you don’t,” he explains. “This is crucial for referee mics especially. If you’re not careful with aiming and control, you’ll end up blasting sound all over the field – and then you’re toast.”

    The design solution, he says, was to create three independent speaker arrays. “We articulated each array with precision: the top targets the south end zone, while the middle and bottom cover specific seating sections. This deliberate targeting ensures complete coverage without overlap, dramatically improving sound clarity throughout the stadium.”

    The other bit that’s noteworthy, he adds, is that the top two of those arrays are K2 speakers, but the bottom is an A15. “The additional gain output of a K2 was not necessary in this part of the space,” he says. “Fortunately, L-Acoustics gives us the range of options we need to fit the system design perfectly to the project requirements.”

    The Commodores kicked off the season with two impressive and electrifying home victories. The new sound system has amplified this on-field excitement, as Watson enthusiastically notes: “The system sounds fantastic, and the coverage is exceptional. The PA’s great energy synergizes with the team’s performance, creating an electric atmosphere that fires up the crowds. It’s a perfect complement to the Commodores’ winning momentum.”

  • Prestonwood Baptist Church Enhances Communications and Signal Distribution With Major Riedel Systems Upgrade

    Prestonwood Baptist Church Enhances Communications and Signal Distribution With Major Riedel Systems Upgrade

    Riedel Communications today announced that Prestonwood Baptist Church in Dallas, Texas, has upgraded from a stand-alone Bolero wireless intercom system to an expansive Riedel deployment. The enhanced system adds a full Artist intercom ecosystem, including an Artist-1024 matrix, various SmartPanels plus additional Bolero beltpacks and antennas. In addition, Prestonwood added a complete MediorNet video distribution system, with MicroN, Compact, and Modular units serving as video, audio, and network gateways. Partnering with Broadcast Technical Services (BTS) to design and deploy the new Riedel systems, Prestonwood has vastly improved the flexibility, reliability, and reach of communications, as well as signal distribution between its two campuses, 27 miles apart.

    “Bolero was our gateway into the rest of the Riedel product line because we just fell in love with it instantly,” said Bryan Bailey, Director of Media at Prestonwood Baptist Church. “I have never been so thrilled by a wireless comms product as I am with Bolero. I am just amazed by its innovative technology and the different things that it can do. It has been a total game changer.”

    The domed, metal-framed architecture of Prestonwood’s worship center and its location at the highest point in the area presented wireless transmission and reception challenges that only Bolero overcame satisfactorily. The wireless intercom has allowed Prestonwood to expand communications within and beyond its worship center. Depending on their needs, production team members use remote keys, GPIO, individual headset audio settings, and Bluetooth to optimize their communications.

    “The challenge of our space took us down the Bolero wireless road, and that led us to try other Riedel products,” said Armando Escobedo, Media Operations Director at Prestonwood Baptist Church. “The Artist, SmartPanel, and MediorNet systems have provided similarly impressive flexibility, in turn enabling new workflows and capabilities, and we can’t imagine producing our shows without them.”

    While Bolero, Artist, and SmartPanel systems now enable versatile and highly configurable communications options across the audio, video, lighting, and stage management teams involved in video production, Riedel’s MediorNet systems currently support real-time signal distribution for Prestonwood’s production of live events. These systems use dark fiber to connect Prestonwood’s two campuses and deliver feeds to student ministry buildings at each location. Engineers at Prestonwood initially chose MediorNet systems for video distribution but soon expanded their use, realizing the systems are also capable of distributing audio and communications signals, connecting all kinds of endpoints effectively.

    “With the expansion of our Riedel communications and signal distribution infrastructure, we’ve evolved and improved our productions and events,” added Will Schaefer, Engineer in Charge at Prestonwood Baptist Church. “MediorNet’s ability to manage various signal types over a single fiber connection has been invaluable and its creative routing capabilities have far exceeded our expectations, allowing us to try new things we couldn’t even think of doing before.”

    “I’m thrilled to see Prestonwood’s continued success with Riedel,” said Ben Gabrielson, Regional Sales Manager, South Central, at Riedel Communications. “The new functionalities they’ve discovered and the innovative ways they’re deploying these products to enhance their messages are truly inspiring. I look forward to further growth with Prestonwood, knowing that Riedel products excel in houses of worship just as well as they do in other live events where communication is key.”

    The comprehensive Riedel system was designed by Ryan Sartell, consultant engineer, Will Schaefer, engineer in charge, and Riedel’s systems consultant services. BTS partnered with Riedel to oversee the deployment and integration of the new systems, with Sartell and Schaefer handling the on-site commissioning.

  • Anthony James Partners Designs an Iconic Scoreboard for Miami Heat

    Anthony James Partners Designs an Iconic Scoreboard for Miami Heat

    Anthony James Partners (AJP), an industry-leading Technology Consultant renowned for pushing the boundaries of sports venue technology, has designed one of the most groundbreaking scoreboards in the world. The Miami Heat’s Kaseya Center will debut this innovative system at the “Red, White & Pink” Game, presented by Miami Cancer Institute at Baptist Health, on Monday, October 7th.

    AJP designed, engineered and provided cost estimates for all aspects of the unique LED scoreboard and rigging system to fit the limited space of the iconic arena. The visionary scoreboard was designed to be the first-of-its-kind, featuring a 3D full-LED sphere crowned by a conical flame top, drawing inspiration from the Heat’s iconic logo. Dubbed the “Fireball,” this design integrates LED rings that echo the look of a basketball hoop. Each LED display is suspended by its own independent hoist system and sized to nest within each other, allowing for dynamic, independent movement—a feature that adds both visual spectacle and technical versatility to the arena.

    At nearly 50 feet tall, the fireball itself is made up of 2,525 square feet of LED capable of showing either one large image or multiple zones of content. Surrounding it are four primary video screens, each measuring 19.5 feet by 29.5 feet, two LED rings at the top, and four underbelly displays, bringing the total LED surface area to an impressive 7,440 square feet. The advanced display system supports variable content zoning for displaying moments of exclusivity, live video feeds, instant replays, statistics, game information, graphics, animations, and sponsorship messages.

    The scoreboard was engineered to fit seamlessly into the architectural constraints of the Kaseya Center, while providing an unparalleled fan experience. Its innovative design is a game-changer, blending artistic vision with cutting-edge technology. The scoreboard was manufactured and installed by Daktronics, Daktronics, with project oversight provided by CAA Icon.

    Additional Information
    Enhanced Connectivity at Kaseya Center This isn’t AJP’s first major project with the Miami Heat. In 2018, AJP led the charge to revolutionize the arena’s Wi-Fi network, ensuring that Kaseya Center’s connectivity was second to none. AJP managed the design, financial modeling, and RFP process, ultimately awarding the project to a team led by Aruba and MS Benbow. AJP also handled construction administration for the venue-wide Wi-Fi upgrade, a critical component in the Heat’s shift to fully digital ticketing and enhanced mobile operations, including point-of-sale and merchandising.

  • L-Acoustics Ai Series Brings Concert-Grade Sound to Eric Church’s Chief’s, Nashville’s Newest Music Destination

    L-Acoustics Ai Series Brings Concert-Grade Sound to Eric Church’s Chief’s, Nashville’s Newest Music Destination

    Chief’s, the brainchild of Eric Church and founder and CEO of AJ Capital Partners, Ben Weprin, joined Nashville’s vibrant Lower Broadway earlier this year. Spread over six stories, the space features Rodney Scott’s Whole Hog BBQ from James Beard Award-winning pitmaster Rodney Scott, a dueling-pianos bar called Friendly Shadows, and a studio for live broadcasting Church’s Outsiders Radio SiriusXM channel. The true centerpiece of the facility is the Neon Steeple, a two-story, intimate ticketed concert venue that was inaugurated with a 19-date residency of shows by Church himself. Notably, that room has already quickly developed a solid reputation for having exceptional sound thanks in large part to an L-Acoustics Ai Series professional sound system installed by Clair Global Integration.

    CGI System Designer Joe Anderson recalls that there were some unique challenges in outfitting the space: “The building’s tall, skinny corner location and reflective surfaces, like stained glass windows and brick walls, required creative solutions,” he explains. “The venue’s multilevel audience area, with fans on the third floor and seated in balcony pews, demanded a versatile sound system, and L-Acoustics’ A10i enclosure emerged as the right choice for this project.”

    The main PA showcases the flexibility and power of the L-Acoustics Ai Series. Each side features one A10i Focus over two A10i Wide, flanked by an A10i Focus over an A10i Wide as side-fills. Dual KS21i subs fly behind the main arrays. The underbalcony benefits from a single A10i Focus over one A10i Wide per side. Four X8 speakers serve as front-fills, while four KS21i subs reside under the stage. For performers, the stage offers up to eight X12 monitor wedges.

    The upstairs piano bar also boasts its own L-Acoustics setup. Eight compact X8 speakers surround the stage, complemented by two SB15m subs above and one more X8 for the FOH booth. Each piano enjoys two X8 stereo monitor wedges. LA4X amplified controllers power all systems, ensuring consistent, high-quality sound throughout the venue.

    Jesse Free, Chief’s production manager, emphasizes the venue’s unique position in Nashville’s music scene. “While our ground floor offers the lively honky-tonk atmosphere visitors expect, our upstairs venue sets us apart,” he says. “Having a professional L-Acoustics sound system immediately signals to musicians and fans that sound quality here is paramount.”

    Anderson adds, “A10i’s compact size and high performance were crucial. It delivers the power and musicality that Eric wanted, allowing us to create a true concert experience in an intimate club setting.”

    Chief’s stands out in Nashville’s evolving entertainment landscape. It combines the city’s renowned musical heritage with cutting-edge sound technology, offering visitors and artists alike an unparalleled audio experience. The studio for Church’s Outsiders Radio SiriusXM channel, with capabilities to host broadcasts from various media partners further cements Chief’s as a multifaceted entertainment destination in the heart of Music City.

    Chief’s exemplifies Nashville’s commitment to pushing the boundaries of live music experiences. By marrying traditional elements like honky-tonk ambiance and innovative dueling-piano bars with professional-grade sound systems, Chief’s contributes to the city’s reputation as a premier music destination.

  • MessengerAVL Streamlines Workflow and Embraces Flexibility with Jetbuilt’s Agile, User-Friendly Platform

    MessengerAVL Streamlines Workflow and Embraces Flexibility with Jetbuilt’s Agile, User-Friendly Platform

    MessengerAVL is a full-service design and build systems integrator specializing in sound reinforcement, theatrical lighting, LED video, video production and broadcast, digital signage and IT systems. Focusing on house of worship and educational markets, MessengerAVL offers seamless and transparent technology systems to help customers achieve their goals, visions, and purposes. Collaborating closely with architects, general contractors, and designers, MessengerAVL creates comprehensive technology systems that work flawlessly across platforms, delivering exceptional value, performance, practicality, and ease of use.

    MessengerAVL was previously using another project platform that was cumbersome and consumed an exhaustive amount of time. After searching for the best platform to serve their needs, they found Jetbuilt, an easy-to-use, feature-rich platform to build complex, professional proposals from the flexibility of a desktop, laptop, tablet, or phone. This transition has streamlined their operations, moving away from cumbersome server-based systems to a more modern, flexible solution.

    “We’re approaching a year of using Jetbuilt,” noted Parker Gann, CTS-D, system engineer for MessengerAVL. “Jetbuilt is primarily used as a quoting tool, though we utilize some of their optional modules, too. Our main goal was to modernize our quoting process, which required a cloud-based solution accessible from anywhere. Previously, we used a server-based system that required VPN access, which was cumbersome.”

    Gann added, “Our old system was Windows-only, but many of our designers, including myself, use Macs. We needed a solution that didn’t require additional software. We wanted a company with an agile development philosophy that valued user feedback and was eager to develop new solutions. Jetbuilt has exceeded our expectations in this regard. Jetbuilt’s commitment to customer feedback was evident at their User Summit, where we directly shared our ideas with their leadership team. Unlike competitors, Jetbuilt listens and implements our suggestions, which is crucial for a small company like ours. For example, they are currently implementing a Client Portal that our team suggested at their User Summit. It’s impressive how quickly they act on user feedback.”

    In the Fall of 2023, MessengerAVL attended the 4th Annual Jetbuilt User Summit in Chicago, IL, to share their feedback, which would later become Client Portal. Jetbuilt introduced the User Summit to unite forward-thinking consultants, integrators, manufacturers, vendors, and end-users. Today, the Jetbuilt User Summit has evolved into a personalized event for industry peers to connect, exchange ideas, and network. Jetbuilt is committed to gathering feedback to design new features and enhancements, providing industry professionals with the resources to accelerate their businesses.

    “We are particularly excited about Jetbuilt’s Portal because it will help bridge the gap between our design team and our customers,” noted Gann. “Jetuilt’s portal will allow our sales team and client representatives to view and share project information directly with clients. This transparency is crucial for them to endorse and present solutions and designs effectively to our customers. The idea behind the Client Portal is designed to allow clients to see real-time progress on their projects without needing direct updates from us. This additional touchpoint is valuable, and automating these updates will be a significant advantage.”

    Jetbuilt’s Portal enables integrators, like MessengerAVL, to share project details such as status updates, drawings, equipment manuals, and other essential information, ensuring organized communication. Integrators can update project statuses as they move through phases like contract, engineering, and installation, reducing client inquiries about ongoing projects. The portal allows fluid communication between integrators and clients, facilitating questions and answers. After project completion, clients can initiate service requests, with updates, discussions, scheduling, and resolution tracking all handled within Jetbuilt’s Portal.

    “Overall, Jetbuilt has definitely saved us time and provided the flexibility to work on the go,” said Gann. “The ability to access it on my phone when I don’t have a computer, especially for making design adjustments while traveling to client meetings, is empowering and invaluable. Another major advantage of Jetbuilt is its pricing catalog management. Previously, managing our pricing catalog was a monumental task, often leading to errors. Jetbuilt’s automated system provides up-to-date pricing from our manufacturers, relieving us from this burden and ensuring accuracy – an immense benefit for us and a testament to the efficiency of Jetbuilt.”

    Gann added, “In essence, we feel like we have a partnership with Jetbuilt. As customers, we can provide feedback and know that it is heard and implemented. This collaborative relationship is something we deeply value.”

    Known for its powerful proposal generation and comprehensive 360-degree project management, Jetbuilt’s platform delivers multifaceted capabilities to sell, manage, and support projects quickly and efficiently. Crafted to meet the unique needs of a broad spectrum of professionals within the industry, Jetbuilt serves small to large businesses across various roles. As a result, Jetbuilt will continue introducing new enhancements to serve the evolving needs of industry professionals.

    Jetbuilt users interested in creating and nurturing relationships with like-minded AV designers and integrators worldwide are invited to attend the 5th Annual Jetbuilt User Summit. The Jetbuilt User Summit will take place from October 24–25, 2024, at the Fairmont Copley Plaza in Boston, Massachusetts.