An ultra-compact, vertically arraying loudspeaker enclosure. Designed to be used in a variety of modes with the option of two enclosures pole-mounted, three to six enclosures ground-stacked, or between four and eighteen cabinets combined in flown array configuration.More Details
[L – R] Chris Scott, Design Director of Inspired Audio, Dominic Blinston, Director of LTN Productions and Jon Wiles, Project Manager at LTN Productions, with the Inspired Audio Optima 5 line array system
Hampshire-based production company, LTN Productions, has recently invested in an Inspired Audio Optima 5 array system, supplied by Inspired Audio UK distributors, LMC Audio.
Speaking from the recent Boxford Masques 2014 event that took place against the stunning backdrop of Welford Park, Hampshire, Dominic Blinston and Jon Wiles of LTN Productions discuss their recent investment in Inspired Audio Optima 5.
Blinston explains, “JP [Cavaco, Sales Manager at LMC Audio] got in contact with us at a time when I was looking for a larger system. We had looked at various systems but many were outside of our budget. It was great timing on JP’s part that he called up on a day when I was having a moan about the cost of systems! He put us in touch with Chris Scott of Inspired Audio who we then went up to see and listen to an Optima 5 system with. Our first thoughts were, it fits the bill and it does what we want it to do. Since owning it we’ve realised that it’s capable of doing even more than we actually first thought it was.”
Chris Scott, Design Director at Inspired Audio, adds, “Everyone’s always surprised by how much Optima 5 can do – people’s expectations are always exceeded.”
The system that LTN Productions have invested in includes 8 x Optima 5 compact line array enclosures, 2 x Optima B210 ultra-compact bass enclosures, 2 x reFlex B215 compact bass enclosures and 3 x eFlex Q5 power amplifiers.
Blinston observes, “Speakers are getting smaller and smaller nowadays and Optima 5 is certainly a very compact offering, yet over the last couple of days here at Boxford Masques, an outdoor theatre event, where the system is not even at full tilt, the sound we’re getting out of it really is amazing. You stand back and think, ‘wow, that’s really packing a punch.’ Considering this is an outdoor event, we didn’t know what to expect when it gets windy, yet so far it hasn’t really bothered the system.”
He continues, “We’re really pleased with the Optima 5 system; it has truly exceeded our expectations of it. This is actually quite a tricky show for Jon to mix due to the sheer amount of one-liners - the first page is 13 lines, each line spoken by a different person - but due to the versatility and usability of the system there is minimal EQ to sort out and Jon can get on and concentrate on the mix”. Wiles comments, “As a result of the system’s ease of use, I’ve been able to concentrate on the show, rather than worry about dozens of different EQ settings, it’s a pleasure to work with.”
Blinston adds, “We’ve actually noticed this on various events that used the Optima 5 system for. It’s very user-friendly. Inspired Audio state that it’s ‘as close to plug-and-play as you can get’ and we’d agree with that, there are no nasty bits that you have to EQ out.”
Cavaco comments, “I’m delighted that LTN have chosen to invest in Inspired Audio. Optima 5 continues to demonstrate it’s versatility as a very compact solution that can be deployed in variety of formats, from small scale pole-mount to multiple box flown arrays, and sounds fantastic in all of them.”
Since taking delivery of the system, Blinston and Wiles have noticed a marked increase in the number of inquiries that they’re now getting for work that they may not have previously undertaken. “We’re now starting to get calls now that we weren’t getting before”, says Blinston. “It’s given us the opportunity and the confidence to go out and do stuff that we wouldn’t have necessarily done before. Better still, it’s meant that we’re able to remove the costs of sub-hiring in additional equipment where we may have needed to in the past, meaning that we can run a more profitable model as a result.
We’re really pleased with it so far. As a company we’re still fairly firmly rooted in the corporate side of things. For these applications Optima 5 is ideal from both an ease of rigging point of view and an aesthetic point of view. It’s compact footprint means that it is unobtrusive and subtle, important in many corporate environments, letting the sound quality do the talking. The great thing is that we can scale it down further if necessary too, again, making it very applicable to the market. Chris Scott adds, “Pole-mounting two Optima 5 tops can actually do what three delays might do, saving on rigging time plus extensive cabling involved in setting up delays.”
Blinston comments, “In the short time we’ve had it, Optima 5 has already proved to work well across the board; from working within corporate environments, to live band work, to theatre work and now, even in an ‘outdoor theatre’ environment, as it is here at Boxford Masques!”
Scott says, “It’s a product that I always wanted to have. Optima 5 became very much a ‘mission’ for me; because everything was small, issues that have never been issues on bigger boxes arose, so we went through more samples, more bits of metal work and more link bars that you can shake a stick at, purely because of the compact size, in an effort to get everything just right. It’s had more love and attention than the average product.”
Blinston says, “The work that’s gone into it from Chris Scott in terms of design really shows. Everyone who’s heard it has been very complimentary about it.” Wiles adds, “The clarity of the system is impressive. It’s very clear, crisp and clean-sounding and you don’t lose anything, even when stood at the side of the speakers. At the same time, it doesn’t make your ears bleed! Finally, it looks very nice, which is important within the corporate AV market.”
Commenting on the service received from the LMC team in London, Blinston says, “The service we received from JP and LMC has been the clincher really. The support from LMC has been a huge help in general actually, right from the word go. It put us at ease and we probably can’t praise LMC enough for a) finding the right system for us and b) for supporting us – it’s a major boost.”
For more information about LTN Productions’ services, contact Dominic Blinston or Jon Wiles: firstname.lastname@example.org or telephone: + 44 (0) 1256 397100
For more information about Optima 5 and to arrange a demonstration, contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: email@example.com.
For further information about the Optima 5 system range and other products from Inspired Audio, visit the Inspired Audio website.
Sean Hames, Northern Area Business Development at LMC Audio Birmingham
Birmingham’s Sean Hames is back with the team at LMC Audio. Working out of the LMC Birmingham Office once again, his new project will see him undertake a Northern Area Business Development (NABD) role for the professional audio sales company.
Following a break from the pro audio scene, Hames is ready for this new challenge, commenting, "I have kept in touch with some old industry friends, following the news in the world of PA. I've even played keyboard with some of them! Now, I'm really looking forward to carrying out my new role, being in the thick of it once more, meeting new customers and becoming part of making their jobs happen. PLASA Focus in Leeds this year confirmed to me that this is where my heart is."
Managing Director at LMC Audio, Paul Hinkly says: "We're delighted that Sean has returned to the industry and has chosen LMC Audio as his route to do so. We have a fantastic 20-year history of working together. His depth of experience in all things Live Audio, his determination to achieve the best result for the customer, the way he acts as a catalyst in creating links between customers and their own work prospects - these are all aspects that embrace our philosophy at LMC. This role will further strengthen the depth and quality of premium audio business transacted in the North - for all."
Hames' role will emphasise product-training and growing customers' individual businesses, initially, in the North East of England. He comments, "Living on the North East Coast, I’m on-hand to provide direct support to help make the equipment an easy hands-on experience for our customers – in all aspects of trying out and using kit, and facilitating the buying bit. I can't wait to get out into my own local area and really make a difference to the people working in audio here.
I'm a strong believer in knowing the kit inside out: how to use it, who else has it, and how it compares to other manufacturers' offerings. I've always found LMC's experience and multi-brand approach sits well with this and the ‘real world’ that audio users live in, giving a better all round deal for the customer. I'm determined that under my new job title many of you will be NAB'D very soon.”
Contact Sean by email at: firstname.lastname@example.org or by telephoning the LMC Birmingham office on: +44 (0) 121 359 4535
LMC will be exhibiting at the PRO 2014 Show this year, which is being held in conjunction with the established BPM Show, taking place at the NEC in Birmingham 13th - 15th September.
Visit the LMC team on stand J3 where we'll be happy to discuss your pro audio needs and introduce you to the latest in premium pro audio technology.
Born out of BPM, which launched eight years with the intention of filling a void on behalf of the DJ sector, PRO is a new exhibition aiming to fulfil a similar need in the professional audio, video and lighting industry with a fresh format; PRO organisers say: "...current shows just aren’t ticking the boxes for equipment manufacturers or industry professionals. It’s time to put that right. A number of exciting industry-related products will be exhibited at PRO 2014, including: audio systems, lighting fixtures, laser systems, trussing and staging, pyros and effects. For this reason, the show is ideal for professional sound and lighting users, late night venues, production/rental companies, event companies, and freelance technicians."
PRO will run as a collocated show alongside BPM. A dedicated entrance will ensure that PRO is accessible as an individual show whilst the BPM and PRO halls will be conveniently linked inside, allowing you to move between both. Together, the shows will occupy three halls and an impressive 15,000 sq/m of space within the UK’s number one exhibition centre: the NEC in Birmingham.
To register as a guest of LMC's visit: www.visitpro.co.uk/trade and enter the code: LM38CA.
Enter your details and you will be automatically approved, receive a confirmation email at the time of registration and then your E-ticket at the beginning of September.
We look forward to seeing you there!
First showing for CADAC at ABTT: (L-R) CADAC Sales Manager Rob Hughes and LMC Audio Systems Managing Director Paul Hinkly
Cadac Holdings Ltd., Luton, Beds. UK. CADAC is set to capitalize on its successes at the ABTT Theatre show with LMC Audio Systems Ltd., and at InfoComm with its Cadac Audio North American sales and distribution arm.
Speaking after his company’s first public showing of the CDC eight digital audio console, at ABTT, LMC Audio Systems Managing Director Paul Hinkly said, “There was tremendous interest, both among the theatre sound fraternity and the growing number of concert touring and corporate AV visitors to the show. The ever increasing variety of premium pro-audio products and technological convergence across pro-audio sectors is attracting more and more of these customers to ABTT.”
Moving forward, LMC Audio Systems’ sales team is embarking on an extensive demonstration programme across the UK, to all market sectors. “With its ‘next generation’ gesture-based touch screen operation, stunning sound quality, and network scalability and connectivity,” continues Hinkly, “the CDC eight offers considerable operational and performance advantages to our customers in all sound production sectors. For the theatre sound sector in particular, CADAC is a name that has fallen off the radar in recent years for a lot of people. A large part of our task is reintroducing them to the brand and the new digital offering.”
Meanwhile the company used InfoComm as a platform to promote its recently extended product line and new North American division, Cadac Audio Ltd. US and Canada. Post InfoComm, the division’s General Manager Paul Morini stated, “CADAC created a big impression with attendees at this year’s InfoComm, with the new dedicated US and Canada operation, a new look booth, new software development, lots of new product, and the presence of the company’s engineering and marketing crew.
“Apart from generating interest in the updates and ongoing developments of CDC eight and its newly acquired systems capabilities, we were there to make connections and establish alliances, most importantly in creating our sales and marketing network. The coming weeks and months will see the fruits of these efforts, as we roll out the sales network across all States.”
When Martin Audio rental stockist, dBS Solutions, was tasked by production company, Sell a Door Theatre Company, to design a sound system that would take the touring version of the long-running West End show Avenue Q across the UK, the company’s MD Chris Bogg was faced with his stiffest challenge in the company’s nine year history.
Not only was this puppet-based production the largest tour the company had undertaken, but the size of venues would vary enormously; and on tours where truck space is at a premium, trucking the minimum amount of kit, while keeping the production scalable, was crucial.
The Warrington based company’s relationship with Martin Audio dealers, LMC Audio Systems was also critical, and the latter’s sales manager James Lawford was able to put a creative deal together that enabled Bogg to secure the new generation theatre system that he had been wanting.
In the era after the Wavefront WT3 theatre boxes, Martin Audio has now introduced the versatile, sophisticated and purpose designed XD12 and DD6 (Differential Dispersion) technology, each with rotatable horns, and voiced for musical theatre.
The dBS owner admits, “I bought the XD12s and DD6s specifically for this tour. We were always looking to add more Martin Audio boxes to our fleet [to complement the 16-box W8LM system] but what made it affordable was securing this tour. It meant I was able to design the sound around exactly what the show required, without compromise, rather than base the spec on what we had in our inventory — and XD12 was the box I wanted to use.” Run with the DD6 and WS18X single 18in subs, he also saw it as a legacy system that would open the door to further similar projects.
“I had heard demos of the DD6 cabinets and colleagues had passed comment on how great they were, while the XD12 was the right size and dispersion, and sounded great when demoed,” summarised Chris Bogg.
Although on larger shows, such as Manchester Palace, the company had fielded all eight XD12s and DD6s in their hire fleet, venues like the Swan Theatre, High Wycombe called on five DD6’s to be placed along the stage lip as front fills, with a further pair of the ultra-compact boxes rigged on the flanks of the stalls to provide outfills to complement the in-house delay boxes, Run passively, six of the multi-angled, lightweight XD12s were rigged, three a side and focused into the stalls and balcony tiers.
In venues with very wide stalls sections where two boxes are used, the rotatable horn is used discerningly to create even coverage without comb filtering or exciting the walls of the venue. “For instance, in some cases the 80° x 50° configuration would be too wide when paired with another box if it wasn't for the fact that they are rotatable,” notes Bogg. “This speaker also runs down to 60-70Hz with an EQ boost at 65 Hz. We remove this in the stalls, but leaving it in place between 3dB and 6dB in the upper tiers allows for a fuller rounder sound whilst eliminating the need for extra subs in these areas.”
At the same time he draws attention to the DD6’s exemplary HF pattern control and the fact that it can be used in portrait or landscape configuration. “They are perfect for fills or delays — and I like the Differential Dispersion technology element as well as the universal brackets, which can be used in both orientations; this means we don’t need to carry two sets of brackets.”
Anything that lightens the weight and rigging time on tour is appreciated. Another huge bonus, hit on by both Bogg and his touring sound operator Joe Green, is the SpeakOn group switch on the back of the DD6, which saves them from carrying additional heavy copper cable.
In essence Martin Audio has provided four Neutrik NL-4 SpeakOn connectors and a two-way switch, which allows the technician to choose which pair of circuits in the 4-core cable the speaker is powered by. Two sets of four can be run on a single stereo amplifier in a single NL-4 run, allowing left-right alternation or for delay purposes, inner-and-outer or near-and-far circuits.
For Joe Green this solution is perfect. “While I have enjoyed working with all the Martin Audio kit this switch on the DD6 is certainly my favourite item; we can make use of the second set of pins and run one four core cable for delay and front fills — running two feeds down one cable.”
The remainder of his touring control is based around a Midas Pro 1 mixer with the show (including all cues for AV and video click tracks) stored in a QLab software environment, which MIDI triggers the console, along with Sennheiser Evolution 500 series radio mics, DPA 4061s mics for the cast and personal monitors for the six-strong pit band.
Proof of concept having been established — much to the satisfaction of production manager, Will Mauchline — Chris Bogg is already looking ahead to the future. “The XD12/DD6 combination covers everything I would want for theatre, and the XD12 is voiced similar to our W8LM line arrays — which is brilliant for our future work. And the passive or bi-amped option gives us further flexibility.”
In fact dBS Solutions have already been asked to undertake further work for Sell A Door as a result of this tour, and as a result of Avenue Q (as well as other work) they have been nominated for the Technical Theatre Awards hire company of the year.
For more information about XD12 and DD6 and to organise a demo, contact LMC Audio Sales: email@example.com
LMC has installed a NEXO GEO S12 system into Birmingham Christian Centre, fulfilling an exacting project brief for the client.
The main requirements for the venue, specified by LMC Birmingham’s technical field sales manager Tim Bamber, were that the main system should provide even coverage, good speech intelligibility and unobtrusive aesthetics. As the front of house position is right at the back of the hall, it was especially important to provide consistent frequency response and SPLs throughout the entire room. The GEO 12 allowed LMC to achieve this within 3dB dB-A, with an equal amount of mid-to-upper range energy at the back as at the front. This ensures that the engineer mixing the service can carry out his job without subjecting the congregation to unnecessarily high volume levels.
Another criterion was that the flown main speakers should provide a full range, punchy sound without too much reliance on sub bass. The centre’s previous system lacked headroom and the subwoofers - located beneath the stage with a tendency to be uncontrolled and ‘boomy’ - were used to compensate.
LMC designed a system consisting of left and right hangs of GEO S12, each comprising two S1210 and one S1230 modular cabinets. The hall was producing large amounts of reverberation, and this has been minimised by using these highly directional loudspeakers and designing the system to cover only the required areas. The line array system also directs vertical energy away from the high ceiling. The speakers in the left and right hangs were fitted with 120 degree flanges as the room is very wide.
Two further S1230s, one per side, have been flown vertically for outfill to the extreme sides of the venue. Two RS15 subwoofers are installed underneath the stage, while four PS8 monitors across the front of the stage provide front fill. The system is being driven by two NXAMP 4x4 Powered TDControllers.
James Lawford, sales manager at LMC Birmingham who handled the technical specification and document proposal, also carried out loudspeaker predictions using NEXO NS-1 simulation software. “This allowed the exact configuration to be determined before a speaker was even installed,” he says. “The real world performance matched the prediction with great accuracy.”
Running down to 85hz, the GEO S12 cabinets can provide most of the bass energy the system needs, with the RS15 subs used to add weight to the bass guitar, kick drum and low keyboard sounds.
“The spoken word is of critical importance in a church environment, so intelligibility was key to this installation,” says Lawford. “The GEO S12 system provides crystal clear speech coverage across the whole room. The addition of front fills helps locate the perceived sound source back to the stage instead of overhead for the people closest to the stage. The addition of front fills also ensures the church leadership, sitting on the front row, can hear!”
Finally, the solution proved cost-effective for the centre. “NEXO products are extremely high quality but represent excellent value for money,” says Lawford. “The modular rigging system requires only the necessary parts to be purchased. And buying a high quality system saves money in the long term by not needing upgrades in the foreseeable future.”
The DPA d:dicate™ Recording Microphone range combines unsurpassed microphone capsules with the highest quality pre's to deliver superior sound quality for all live and recording applications.
To make these great recording mics a little more accessible this summer, you can now get 10% OFF the price on all d:dicate™ Stereo Pairs until 31st July 2014.
Check out the ST2011C, perfect for close miking and stereo overheads on drums and percussion, being used on snare in Sound Network’s ‘In the Mix’ video, featuring rapper Angel Haze, live, at Heaven, London: http://youtu.be/qyCdDCCGGts?t=3m8s
Also suitable for a wide variety of applications across all styles of live music from from rock ‘n’ roll to opera, the ST4011A is a first order cardioid, ideal for overheads on drums, brass and string sections. Double bass and Cello sound spectacular when mic’d with these too!
Looking for wide cardioid mics? The ST4015A is an excellent choice for grand piano, guitar, marimba, and percussion or as a spot mic for groups in a symphony orchestra and the ultra-compact ST4015ER is ideal for unobtrusive spot miking, such as hanging use and, again, exceptional for pianos. See the mics in use with the Penguin Cafe orchestra live at Union Chapel, London: http://youtu.be/kF7Nbem1naI
For more information contact LMC sales: firstname.lastname@example.org or telephone London: 020 8743 4680 or Birmingham: 0121 359 4535
Cadac Holdings Ltd., Luton, Beds. UK. CADAC announces the appointment of LMC Audio Systems as an official UK dealer with immediate effect. The leading live audio sales company will be showing CADAC’s new CDC eight-16 digital production console at the ABTT Theatre show.
Speaking for LMC Audio Systems, Managing Director, Paul Hinkly, says, “This is a chance to work in meaningful partnership with a genuinely premium UK brand, meaning, not only top quality products from first class people but also a common purpose, to transfer the technical and commercial responsibilities and values, so expertly acquired through decades of leadership in the theatre market, to all engineers, PA co’s and venues who similarly deserve and demand such respect and support for their investments and businesses.”
Louisa Hinkly, Marketing & PR Manager, adds, “When we learned of CADAC’s re-positioning for all live market applications, we became very interested. Not only does CADAC complement LMC’s leadership position in live audio markets, it directly meets the requirements of customers looking for superior-quality audio and commercial returns.”
As well as the CADAC CDC eight, CADAC UK Sales Manager Rob Hughes will also be on the LMC Audio Systems stand at ABTT: “We are extremely pleased that LMC has joined our new UK sales operation. The company is justifiably held in the highest regard by industry professionals and brings a wealth of experience in selling consoles to all sectors of the live audio market. I have had the pleasure of working with them in the past and experienced, first hand, the sheer professional integrity, enthusiasm, and premier customer support that are the hallmarks of their operation. LMC will be a key asset in our UK market development strategy.”
The CDC eight-16 features 128 channels, 48 bus outputs and 16 fully automated faders, coupled with an exceptionally intuitive user interface built around the large-format touch screen control surface and (the CDC eight-32 features 32 faders and dual touch screen surfaces). The CDC eight’s sound quality is the result of CADAC’s legendary mic pre combined with a time-aligned, phase-coherent mix bus architecture, featuring sub-0.4 millisecond latency, from analogue inputs on stage to analogue outputs on stage. With a far less menu dependent operating system than other digital consoles, the CDC eight offers an unparalleled user experience combined with exceptional audio quality.
The optional CDC MC Router enables audio networks of up to 3072 channels of 24-bit /96kHz audio to be easily configured, comprising multiple I/O stage boxes and CDC consoles. The CDC MC MADI Bridge enables the integration of any third party MADI hardware into the system.
PA company MLS Audio turned to DPA’s d:vote™ 4099 Instrument Microphones to amplify a 10-piece orchestra in a venue with 95% reflective surfaces. As a company that prides itself on delivering great quality sound, Portsmouth-based MLS Audio has no hesitation in specifying the best equipment on the market to achieve its desired results.
It is therefore no surprise that, when faced with a tricky sound reinforcement project, the company turned to DPA Microphones for help.
Sound engineer and MLS Audio founder Guy Morris says: "The car manufacturer Bentley was holding a private corporate event at the Royal Exhange in London and we were approached by event organiser, Beyond Certainty, to handle the audio. The original brief was for ‘a few singers and a band’. This became ‘a few singers placed around the room on podiums with a band at one end’ to the final translation of ‘six opera and West End show artists and a 10-piece orchestra'."
Given the architecture of the Royal Exchange this wasn't as easy as it might seem. The roof alone is 50m high, while the interior has 95% reflective surfaces thanks to ample use of glass, marble, stone and tiles.
"The artists had already specified that their preference was to use headset microphones and immediately chose single ear versions of DPA's d:fine™ Headset Microphones," Morris says. "The orchestra, however, was another issue because we had 10 instruments to amplify in a space that was acoustically very challenging. We also had very limited set up time because the Royal Exchange is open to the public until 6pm and Bentley's event was due to start at 7pm."
A lot of discussion took place, during which various microphone placement options were considered. Despite the temptation to deal with the time constraints by going for a simple spot mic set up, it was obvious that the acoustics of the venue - and the fact that the artists were on IEMs - demanded a different solution.
"The artists required total clarity from different parts of the orchestra for their performances and spot mics in that acoustic environment just weren't going to deliver that," Morris says. "We spoke to James Lawford at LMC Audio Systems, our preferred equipment supplier, and he suggested DPA d:vote™ 4099 Instrument Microphones."
MLS Audio bought DPA's recently introduced d:vote™ Classic 10 Touring Kit, which incorporates 10 d:vote microphones, adapters and cables, as well as a selection of 25 clips for a variety of instruments.
"The selection of instrument mounts was marvellous," Morris says. "There were even two magnetic mounts for placing inside a piano with the lid open or shut. This was very useful as our orchestra was using a Baby Grand piano (shut), three violins, a viola, a cello, an upright bass, a flute and an Oboe."
Musicians are notoriously precious about their valuable instruments and are understandably wary of using clips in case they cause damage. However the DPA mounts were so intuitive that Guy Morris had no trouble persuading this orchestra to use them.
"The mounts are made of a non-abrasive rubber material that every musician was happy to use," he says. "In fact, I got the feeling they had used d:vote 4099 Instrument Microphones before because they were all able to place and fit the mount themselves with hardly any guidance from the sound crew."
Morris adds that the benefits of using DPA microphones was obvious from the outset.
"With every mic offering the same consistent neutral sound, it was a simple tweak of EQ to suit each instrument. The gain was ample with a quiet noise floor, and the placing of the mic (although critical for some instruments as they are of a directional, supercardioid pattern) offered excellent results."
Morris used the included XLR connection, via DPA's microdot connector, which allows for various interfaces and wireless systems.
"This was really useful as each violinist needed to easily unplug between their performances and take their instruments away to ensure they were correctly tuned for the next set," Morris says. "Getting a good balance of so many instruments close miked in a very limited time for both the orchestra on the FOH and for the singers hearing it in their IEMs would normally take far more time than we had available. The d:vote 4099 Instrument Microphones played a big part in getting us ready in time before the doors opened and the guests came in."
Apart from sound quality and versatility, Morris says the other advantage of using DPA d:vote's was that the orchestra looked very tidy on stage. No mic stands were visible and the singers were able to hear their key instruments, while guests were treated to some excellent renditions of West End show classics.
"The DPA d:vote microphones were a true problem solver for our challenging scenario and the all important factor was a satisfied end client," Guy Morris adds.
Julian Rees, Technical Director at Production Plus, at their warehouse facility in Hertfordshire with the Inspired Audio Axis AX12 wedges.
Hertfordshire-based production, entertainment and event-management company, Production Plus, recently put an Inspired Audio Axis AX12 loudspeaker system through its paces. The system, supplied by LMC Audio, was used on a high profile event with a contemporary artist who had minimal staging and space for technical equipment.
Julian Rees, Technical Director of Production Plus, comments, “With Axis AX12 our client’s expectations were met with limited visual impact, allowing clean sight lines whilst also keeping the artist/engineers happy in terms of performance.” He continues, “A large section of our work is to supply artiste technical specs to meet riders, however, these need to be acceptable to our corporate clients – not always an easy trade off! A problem we have long had is artistes wanting large wedges on stage. Axis AX12 gave us the solution of bi-amp wedges in a small format whilst delivering the level and quality expected by the artist.”
The wedges delivered in terms of audio performance, Rees noting, “The AX12 gave excellent feedback rejection with a sound that really cut through on the stage.” With trucking space and weight becoming a premium these days, the wedges and amps brought added benefits in overcoming these issues, meaning that for Production Plus they ticked all of the boxes.
JP Cavaco, Sales Manager at LMC London, comments, “Production Plus’s need for a compact bi-amp monitor that would satisfy the client’s requirements (minimum visual impact) as well as the artist’s (maximum audio quality) was perfectly met by the Axis AX12. In terms of quality, Inspired Audio’s dedication to delivering premium audio solutions is evident throughout their range, from the components and materials they use to the design and manufacturing processes they employ. A fine example of British engineering at it’s best.”
Rees notes, “We wanted to demo the Axis monitors from Inspired Audio because they had the pedigree and legacy from Chris Scott we knew and understood. The amplifier is a known quantity and just reinforced the brand as a serious contender on our shortlist. In terms of service and supply, the usual excellent LMC service was included. JP ensured we had all the kit in good time for prep and, as always, was happy to listen to our requirements and feedback on products.”
Chris Scott, Design Director of Inspired Audio comments, “I have great respect for Julian and his team at Production Plus, they are just consummate professionals. I’m so proud to be working with them and delighted that AX12 are being specified on this kind of project. Corporate A/V is a strong growth area for Inspired, so this just helps to build upon that momentum.”
For more information and to arrange a demonstration of Axis AX12, contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: email@example.com.
For further information about the Axis system range and other products from Inspired Audio, visit the Inspired Audio website.
For more information about Production Plus’s services, contact Julian Rees: firstname.lastname@example.org or telephone: 01462 684001
There are hundreds, if not thousands of videos and courses online all offering valuable advice on microphone technique, but nothing beats actually getting hands-on when it comes to learning what works (and what doesn't) in real live situations.
We invite you to join us for a hands-on Microphone Techniques Workshop with hosts JP Cavaco (LMC Audio Systems), Bo Brinck (DPA Microphones) and Adam Pierce (Sound Network). We will be focusing on improved mic techniques primarily for the live environment, but also how this crosses over into recording studio situations.
PLEASE NOTE: We've had an overwhelming response to our Free Mic Techniques Workshop and have decided to make a change of venue to better accommodate everybody.
The workshop will now be held at Union Chapel in Islington.
Full address: Union Chapel, Compton Ave, London, N1 2XD. (click for map)
This central location is easy to get to, the nearest station being Highbury & Islington which is on the London Overground and the Victoria Line.
As a result we've also had to drop the third (16:00 - 18:00) session, so will be inviting these attendees to either of the earlier sessions as there's now plenty of space! Please feel free to invite anyone you know who may benefit from a workshop like this to register on our website.
LMC Audio Mic Techniques Workshop:
Where: Union Chapel, London - Compton Ave, London, N1 2XD
When: Thursday 22 May
Times: There will be two sessions over the course of the day.
These are 11am - 1pm and 2pm - 4pm.
Register to attend: There are still a limited number of spaces available, so please register all attendees on our website.
Click here to register.
For any further information, please don't hesitate to contact us. We look forward to seeing you there!
Register free for PLASA Focus: Leeds 2014 now and visit us at the show!
The leading event for entertainment technology in the north of England will be held on 29 - 30 April, 2014, at the Royal Armouries between Clarence Dock, Leeds.
Visit the LMC team on stand N-C28 in New Dock Hall.
To register for the show, visit the PLASA Focus website.
X Factor runner-up, Jahmene Douglas, performing at Oasis Leisure Centre, Swindon using the Martin Audio W8LM system
Event production and hire company, Epic Production Services, have recently invested in Martin Audio W8LM and WS218X, supplied by LMC Audio London.
Matt Rogers, Director of Swindon-based Epic Production Services, did his research before investing in the system, which was purchased from LMC’s extensive used equipment stock. Having already used and become familiar with Martin Audio products, he wanted to ensure that W8LM would offer the same level of audio quality. He was not disappointed. “From the start it became evident that you could hear every detail of the mix through the W8LM system and at no point did I find I was compromised in what I wanted to achieve,” says Rogers. “Vocals sit naturally on top with Martin Audio’s very crisp and clear high end, whilst the WS218x’s offer a massive bottom-end kick.”
Last year, X Factor runner-up, Jahmene Douglas, sang at Epic’s local ‘Best of Swindon’ event using the W8LM system, to rave reviews. Having compared W8LM with alternative market offerings, Rogers found that the Martin Audio system best met his business needs, commenting:
“After trying out many different systems I chose to invest in Martin Audio W8LM because of its flexibility and its outstanding clarity. The system’s performance is unbelievable. When the bands and clients we’ve worked with have first taken a look at its small footprint and compact size they simply don’t think that it will be loud and clear enough. However, the doubts quickly disappear once they’ve heard it. Every time we turn it on everyone’s shocked at its capability and it receives so many compliments. In terms of logistics, its compact size also means that we save on truck space and time setting it up, making it a very efficient system for us to deploy.”
One of Epic Production’s clients, Keith Newman, Chairman at Broad Town Big Gig based in Wiltshire, for which Epic will be deploying W8LM again this summer, comments:
“We are a small, intimate outdoor festival that prides itself not only on presenting great local and national bands and artists, but also delivering a top quality audio experience for those artists and our audience. Our reputation has been built upon these principals, which is why we have utilised Epic Production Services for the last 6 years, and have been delighted with the use of the Martin Audio products. Now, with the Martin Audio W8LM's, the enhancement to the sound quality has been extraordinary, allowing us to further improve the experience.”
Discussing upcoming events, Rogers adds, “We will chiefly be using the system for live music events and already have many bookings for the summer, including Calne Festival and Broad Town Big Gig. We’ll also be working with loads of local talent, supporting up-and-coming artists such as Josh Kumra and George Wilding, who has recently been played for the first time on BBC Radio 2. I really wanted a system that could be as flexible as possible and with the W8LM I have just that; we can use it for theatre, conference and club applications as well as touring, truly maximising on the return.”
JP Cavaco, Sales Manager at LMC London, comments: “I’m delighted that Epic Productions have chosen to invest in Martin Audio’s W8LM line array system. It’s a well proven product from a British loudspeaker manufacturer that continues to offer a compelling mix of sound quality, durability and ‘hireability’.”
Rogers’ experience in working with LMC has been very positive:
“LMC have been absolutely amazing. I worked with JP on our upgrade for over a year trying out different solutions to find the one that best suited and each time came back to the Martin Audio W8LM. Throughout the entire process I have had as much support as I needed and LMC’s understanding of where I wanted to take my company and make it future proof has been second to none. It’s a great business relationship but also a great friendship. I certainly know I won’t regret choosing LMC and look forward to working with them in the future, and expanding our stock of Martin Audio.”
Simon Bull, International Sales Director for Martin Audio, comments, "This sale is a testament to both the quality and longevity of W8LM, and clearly the result of a positive collaboration between LMC and Epic productions. We're delighted for the support, and we're confident that W8LM's versatility will match the needs of Epic's busy and varied summer line up of events."
For more information about Epic Production Services’ events and services, visit their website: www.epic-productions.com.
For all new and used equipment enquiries, contact LMC Sales: email@example.com.
For further information about the W8LM range, and other products from Martin Audio, visit the Martin Audio website.
The QL Series continues the progression instigated by Yamaha's CL Series, bringing the same high level of operation, networking capabilities and outstanding sound quality within reach of the small-to-medium live music, corporate, speech and installation markets… and all at a price point which matches its compact size.
The new QL series comprises two models, the QL1 and QL5.
QL consoles are ideal for small-to-medium sized productions on their own, however onboard Dante networking allows them to be integrated into bigger systems with Yamaha's R-series i/o units and CL Series consoles. Up to eight R-series units can be simultaneously controlled by a QL console, offering as many as 256 input sources.
QL series is the perfect complement to rental company investment in the CL Series, with a brand new Port to Port facility giving CL Series consoles access to the onboard connections of QL consoles, allowing them to be used as external i/o. This allows very precisely scalable audio solutions to be created.
A QL version of the StageMix iPad remote control app and a fully fledged online / offline editor for Windows and Mac, QL Editor is available.
For more details visit the Yamaha QL Series section on our web catalogue.
Visit the team and see the new ranges on stand F12, Hall 8 at Prolight & Sound in Frankfurt, 12th - 15th March
Inspired Audio return to the Frankfurt Pro Light and Sound show confident of building on the solid foundations laid down at last year’s show. With a product focus in 2013 orientated towards the live sound and touring market, this year’s show will showcase the first products from the new mFlex MQ & iQ ranges, which will seek to broaden the product offer with MQ targeting the live performance market and iQ the fixed installation market. The show will also see an expansion of the reFlex bass range, with additions which are designed to complement the new mFlex product ranges.
First releases from mFlex MQ will be the MQ12 and MQ15. While the former utilises a 12” mid/bass unit and the latter a 15" unit, both products share a common 1.4” exit HF compression driver on a CD horn. Also common to both MQ enclosures is a multifunction cabinet design with a trapezoid front section augmented by a rear monitor angle. The cabinets also benefit from rear pocket handles and a selection of bracket and insert points. All drivers have neodymium magnet structures, with the mid/bass units also featuring 3” aluminium voice coils for enhanced midrange transient response. There is a choice of HF directivity, with 90⁰ x 40⁰ as standard and 60⁰ x 40⁰ an option. All HF guides are rotatable to enable operation in portrait or landscape modes. Cabinets are manufactured from birch plywood and finished with a polyurea coating.
The mFlex iQ range will combine installation-specific products with adapted versions of products from the MQ range. The iQ range will be finished in a water-based textured finish, with black and white as standard colours. Later in 2014, Inspired will introduce the 'Adapt programme' which will offer full RAL number colour matching.
To extend the bass response of the MQ12 and MQ15, Inspired have introduced the reFlex DR115 bass cabinet and DR118 sub bass cabinet. Both cabinets house high power, long excursion neodymium drivers, within vented direct radiating cross-braced enclosures. The two cabinets share a common cabinet width and runners and housings that facilitate stacking. As standard the enclosures feature reinforced insert points to assist in installation applications, but have the option of a touring pack that allows cabinets to be locked together when used for live performance. The third addition to the reFlex family is the B210, a product that shares a common structure to the Optima B210, but without the flyware. The product makes an ideal bass companion to the AX8 within the AV market, while also offering options to Installers where its compact dimensions and low 315 mm height make it easy to conceal under furniture.
Final Frankfurt release from the MQ portfolio is the MQA adaptable array enclosure. The compact cabinet features a central 250 mm, 90⁰ x 20⁰ waveguide, with a pair of 8” mid bass drivers mounted in a dipolar configuration. The cabinet can be used as a single element over the 80 Hz – 20 KHz pass band or combined together as a fixed angle array. For live performance two elements can be yoke mounted on a pole or stand, while larger combinations of three or four elements can be ground stacked or flown. The system's ease of use and scalability make it equally suited to live sound applications or installation within church, theatre or the leisure market.
Touring will not be forgotten with the compact Optima 8 array box and the ultra-compact Optima 5 array enclosure joining the Axis monitor range on the stand.
So come and visit the Inspired team on stand F12, in Hall 8, where we will be joined by Will Hinkly, Technical Sales at LMC Audio, UK & Ireland distributor for Inspired Audio, who will also be on hand to talk you through the ranges, our beliefs in an integrated solution and what the future holds for the brand.
For a Frankfurt appointment please contact:
Chris Scott – Head of Design at Inspired Audio
E: firstname.lastname@example.org or
Will Hinkly - Technical Sales at LMC Audio
For details of all of the products ranges available visit the Inspired Audio website.