newsflash - Dynacord

Transcription

newsflash
autumn
2007
the EVI Audio Magazine
www.boschcommunications.com
EDITORIAL
CONTENTS
In the immediate aftermath of the takeover by Bosch last year,
there were all kinds of rumours and predictions flying around.
About what would change. About what our business partners expected of us. About how the daily round would be altered. About
the prospects for the new constellation. Now, after a few months
under the new management, the picture is considerably clearer.
Things have changed. Even in terms of day-to-day routine, new
factors are in play and new procedures have been introduced as
a result of the collaboration.
A course has been set, and it has become clear—and not only
from the completion of the new production hall at our European
headquarters in Straubing—what that course is. "The cooperation between production, development and marketing," for example, as Marketing Manager Robert Hesse explained in an interview with newsflash, "has considerably improved" along with "the
level of transparency" and, according to Works Manager Konrad
Proyer, also that of "customer of satisfaction”. How these improvements came about in the space of a few short months and the
philosophy upon which they are founded are both explained by
the two leaders on pages 4 and 5.
In the rest of this issue of newsflash, we present a representative sample—from among countless productions we could have
named—that illustrate the global status of our business partners
and our systems. In whichever corner of the world a new stage
is erected or an installation required, our brands have the ideal
solutions to meet every acoustic challenge. Solutions that can be
tailored to the requirements of each application and that are inordinately reliable. And that applies whether it's—as was the
case with the Live Earth festival—the largest musical event of all
time (pp. 6-9) or a new business centre in Tokyo (p. 19). The two
applications may be poles apart, but they have one common factor: systems from EVI Audio.
Page 3
MIX
News from the pro audio scene
Pages 4 / 5
INSIDE
Interview with Robert Hesse and Konrad Proyer:
"The areas of responsibility..."
Pages 6 / 8
HIGHLIGHTS
Live Earth Festival: The largest musical event of all time
Page 9
HIGHLIGHTS
Britannia Row,London: EV days at London mega events
Page 10
HIGHLIGHTS
Genesis Tour 2007: Comeback with the "X factor"
Page 11
HIGHLIGHTS
Lionel Richie's German tour: "All Night Long" with EV
Page 12
WORLDWIDE: Electro-Voice
Glastonbury Festival 2007
Jazz on the Danube: Record results with EV, Midas, KT
Page 13
WORLDWIDE: Electro-Voice
Calgary Stampede, 2007: With Sound Art & EV
Page 14
WORLDWIDE: DYNACORD
Western Hill, Fort Worth: High School Musical with the Cobra
Michael Schenker Group in Seattle: Hard rock with the Cobra
International Bass Convention: Summit with the Cobra
Page 15
WORLDWIDE: DYNACORD
American Idol: Homecoming with the Cobra
Showcase in Florida: Hip-hop with the Cobra
Pages 16 / 17 WORLDWIDE: Midas
MIDAS Consoles in concert:
Setting the tone – analogue or digital
IMPRINT
PUBLISHER
EDITORIAL
EVI Audio GmbH
Gunther Matejka
James Edlund
COORDINATION
Guy Low
Robert Pletz
Rhea Marstaller
Hirschberger Ring 45
Daniel Kappla
D-94315 Straubing
Pamela Böhm
Tel: +49 9421/706-0
Ulli Hoppert
Page 18
INSTALLATION
Stazione Birra: Cool beer, hot sound
Page 19
INSTALLATION
Hard Rock Café, Warsaw: Grand opening with EV
Tokyo Midtown, Japan: Multi-function complex with top sound
Page 20
INSTALLATION
Kristal Glam Club, Bucharest: Sound deluxe
Vitensenter, Bergen
Page 21
INSIDE
National Theater, Bratislava: International stage with EV
Page 22
INSIDE
Logo auction Adel Attia wins
ProLight+Sound 2007: Awards
Munich, Maxi-Marathon 2007: Bosch4Speed
Page 23
INSIDE
Midas Consoles, Holland
Benelux distribution deal,
New factory Straubing: Work completed
Hot stuff: New from the merchandising corner
Fax: +49 9421/706-315
REALIZATION
TRANSLATIONS
snapshot Redaktionsbüro
Ewan Whyte
Gunther Matejka
E-mail: Ewan.Whyte@wanadoo.fr
Tel: +49 89 / 75 50 56 80
Fax: +49 89 / 75 50 56 829
GRAPHICS
www.snapshot-redaktionsbuero.de
Sabine Bitterlich
E-mail: s.bitterlich@web.de
PRINTING
F&W Mediencenter, Kienberg
www.fw-medien.de
2
newsflash / autumn 2007
NEWS…
MIX
BOLTON IN RUMANIA
HI-FI HIGH
For a guest appearance on the 7th July in the Triac Arena in Brasov
(Rumania) by the American singer Michael Bolton, Concert Production
deployed an extensive Electro-Voice XLC line array including EV XSubs and a variety of components from Klark Teknik.
On the 23rd August, Sunnyboy Hansi
Hinterseer invited lovers of Volksmusik to Kitzbuehl for a hike in the mountains with a concert to follow.
Despite the rarified air, the 6,000+ fans
who accepted the invitation were
treated to solid, down-to-earth sounds
thanks to a team from Murdock Music
led by Stefan Gieringer and using EV
systems.
THE CHINESE WAY
The rental company Engineering Impact Hong Kong wowed fans and
critics alike at the latest stadium tour of Chinese pop superstar Jacky
Cheung with a main PA comprised of Electro-Voice X-Line and XLC-components.Further information about the production can be found at
www.electrovoice.com/pressreleases/614.html
WELCOME!
Stray Cats drummer Slim Jim
Phantom is the latest member of the
exclusive fraternity of Electro-Voice
endorsers. The legendary drummer
employs a variety of EV microphones including the N/D868.
DANISH DYNAMITE
In May, over 300 visitors attended in-store demos in the cities of
Naestved and Aalborg organized by the Danish DYNACORD distributor Ascon. For the concerts by Danish singer/songwriting legend Ivan
Pedersen, Ascon employed loudspeakers from the D-LITE (D 12, D123, D15-3) and VariLine series as well as PowerSub 315, Sub 115 und
Sub 118 subwoofers.
In view of the tremendous response, further demos are in the
offing. For more information, visit:
www.ascon.dk.
NORWEGIAN ROCK SUMMER
From 9th till 10th June was the setting for a festival to raise money for
handicapped children at which over 40 bands performed. With temperatures around 30 degrees Celsius,
the atmosphere was excellent.
MultiTechnik AS was responsible for the production and opted
for a DYNACORD Cobra system.
Among the guests, incidentally,
was Ozzy Osborne's charismatic
guitarist Zack Wylde, who is himself an EV endorser.
3
INSIDE
INTERVIEW WITH ROBERT HESSE AND KONRAD PROYER
”THE AREAS OF RESPONSIBILITY ARE CLEARLY DIVIDED”
Since the takeover by Bosch last year, things have changed at the Straubing-based EVI Audio GmbH.
newsflash editor Gunther Matejka spoke to Vice President Sales EMEA Robert Hesse and Plant Manager
Konrad Proyer about the new structure of the firm, changes, transparency and brand politics
NEWSFLASH: How much has changed since
the Bosch takeover. How is the firm organized?
I gather you have a dual leadership.
ROBERT HESSE: Following the acquisition in
September 2006, we thought about how best the
process of integration should be conducted and
decided to divide the responsibilities of managing director between two people, as is the custom with Bosch: one is responsible for the factory and the other for the commercial side of the
business, which is how the posts occupied by
Mr. Proyer and myself came to be established.
As Plant Manager, Mr. Proyer is responsible for
production, purchasing, logistics and quality
control, whereas I am responsible for sales, service and communication.
KONRAD PROYER: Formerly I was Plant
Manager in Munich/Ottobrunn. To manage now
the production at Straubing and Hohenwarth,
where there are a considerably larger number
of employees, is an enormous responsibility. The
early days were far from easy: we had a high
backlog of orders to clear, but we quickly realized where the problems lay, and by joining forces we were able to turn things around. Since
the end of the first quarter of 2007, we have been
back on course, and the level of customer satisfaction has improved noticeably.
NEWSFLASH: The building of the recently dedicated new production hall – did that send an
important message to the entire workforce?
KONRAD PROYER: What it made clear was that
we were being entrusted with responsibility for
4
establishing and consolidating the position of
this plant as Bosch Security Systems' principal
central European production center, and we aim
to vindicate the trust that has been shown in us.
So it was a message that has had a singularly
motivating impact upon our employees. And I
have to take my hat off to them: in the many years
I've been involved in production, I have rarely
seen a workforce display as much commitment.
A quick example: in addition to achieving a considerable increase in productivity in the last six
months, we have developed and implemented a
completely new production concept in line with
the Bosch standard. For this reason, I am very
proud of this work and optimistic for the future.
With the new hall, the new production concept
and the team we have in place, I see enormous
potential and believe we can achieve great
things here in Straubing – even if the next few
months are going to require a great deal of effort and optimization.
ROBERT HESSE: I agree with that absolutely. In
the last few months, I've often seen requests
that were submitted by customers at short notice which were satisfied immediately. The workforce functions marvelously as a team, as well
as being very cooperative and flexible. That's
the most important precondition for obtaining
what we all want: satisfied customers and therefore success.
NEWSFLASH: Returning to the question of the
dual leadership. What are the implications of
the new structure for customers? Doesn't it
make it more complicated to do business when
the power to take decisions is shared between
two people?
KONRAD PROYER: I don't think so at all. There
is a very clear division: Mr. Hesse and his team
are responsible for the way the company presents itself to the outside world and for dealing
with customers in particular; I and my team are
responsible for the internal running of the factory. Naturally, it's all bound up together, since
if we continue to develop and manufacture innovative and high-quality products, as well as
delivering them on time, Mr. Hesse will have satisfied customers.
NEWSFLASH: Would you say, based on the first
three quarters, that a fresh wind is blowing
through the organization?
NEWSFLASH: So the areas of responsibility are
clearly divided. But without teamwork and
transparency, it isn't possible, is it?
ROBERT HESSE: Certainly. In the first few months
there were already changes. Much is new – and
the workforce has reacted positively to the changes. There has been a substantial increase, for
example, in the level of cooperation between the
factory, R&D and sales. We have also introduced
new procedures, such as regular meetings, with
the aim of improving the quality of communication and the degree of transparency. Things are
changing for the better and the employees have
seen tangible proof of this in the building of the
new production hall and the new entry area.
INSIDE
KONRAD PROYER: Teamwork is naturally very,
very important. That isn't just true at the highest
level but throughout the entire company. And I'll
be bold enough to say that Mr. Hesse and I demonstrate convincingly the advantages of team
spirit, and this has a positive influence on all levels within the company.
ROBERT HESSE: Here, too, an example: since
our sales team is very close to its customers, we
are constantly receiving feedback concerning
our products and service. All suggestions we receive are discussed internally. This increases
transparency. In other words, the production
team and the developers hear from us directly
what is happening in the market and can respond accordingly. This internal dialog is viewed
very positively by our customers, as they can
see clearly that their input is valued.
NEWSFLASH: Since the Bosch takeover, do the
various brands still form the focus of marketing?
ROBERT HESSE: Without a doubt, yes!,
Admittedly, we are all under the Bosch Security
Systems umbrella, but we nonetheless think in
terms of brands. We produce products by brand,
communicate by brand, and market by brand.
NEWSFLASH: The pillars of marketing philosophy in recent years have been the slogans:
"Think application – not competition", "Think
customer – not dealer", "Think problem solution
– not pricing". Do you also subscribe to these
principles, Mr. Hesse?
ROBERT HESSE: Yes, 100 per cent. These are the
watchwords that have defined our brands – and
will continue to do so in the future. The conditions for this are that our distributors and dealers have at their disposal products of a very
high standard. We are not going to transform
ourselves now into suppliers of cheap and low
quality merchandise for the masses! Nor will we
get drawn into price wars. We will continue to
convince customers through the quality of our
products and through innovative features that
set them apart from those of our competitors.
The huge investment in the Straubing facility underlines our positioning strategy.
NEWSFLASH: Does this mean the concept of
academies will also be retained?
ROBERT HESSE: Yes, absolutely. We are even
planning to extend the academies. Currently we
are working on an academy roll-out for 2008 –
you're going to see a very full calendar of events.
Upgrade in XL: the Straubing facility has been expanded with the addition of new production halls, warehouses, offices and a state-of-the-art test laboratory
About Konrad Proyer:
About Robert Hesse:
Born in 1964 in Rötz, Bavaria, electronics engineer (speciali-
Born in 1969 in Nairobi, Kenya, the Business Administration
zing in data processing) Konrad Proyer has since 1979 occu-
Graduate Robert Hesse gained a wealth of experience in a va-
pied virtually every role in production with Merk Telefonbau
riety of senior roles such as Regional Sales Manager (Eastern
(now Bosch Security Systems). After starting out as a skilled
Europe), Sales & Marketing Manager (Asia-Pacific), Director
engineering worker with ancillary responsibilities as a test
of International Trademarketing, Export Director and Head of
technician and production planner, he eventually moved into
Key Account Management for Blaupunkt GmbH. Married with
management where he graduated from Team Leader, to Group
two children, since April 2007 he has held the position of Vice
Leader to Plant Manager (Ottobrunn). Married with one child,
President Sales EMEA with Bosch Communications Systems
since October 2006 he has held the position of Plant Manager
(a Business Unit of Bosch Security Systems). A lover of hard
SabP (Straubing and Hohenwarth). In addition to his family, his
rock, soul and classical music, his interests include traveling,
hobbies include football, camping and fishing.
diving, golf and spending time with his family.
5
HIGHLIGHTS
LIVE EARTH FESTIVAL
THE LARGEST MUSICAL EVENT OF ALL TIME
Followed by around two billion people on TV sets all round the world, the Live Earth Festival on July 7th
2007 was the largest musical event of all time. At the Hamburg and London legs of the relay, sound reinforcement equipment from Electro-Voice and Midas provided consistently brilliant sound
A nine-hour program of the highest class – the Live Earth concert in Hamburg with Shakira (right) and numerous other national and international stars
In all, seven of the world's great cities participated in this music marathon with a difference,
at which the audience was exhorted to stop ignoring the dangers and join the struggle against
global warming and climate change.Hamburg’s
HSH-Nordbank Arena provided the venue for the
German Live Earth event, wherethe organizers
enlisted the services of a well-drilled team from
Satis&Fy to handle sound reinforcement.
The ninehour programme with its all-star line-up
called for a lavish and impressive battery of
equipment. The sound crew began installing the
enclosures in and around the gigantic stage on
the Thursday before the show. For the main PA,
delays and outfills, they chose an Electro-Voice
X-Line system powered by 60 Electro-Voice TG-
6
7 amps. The hangs on each side of the stage
were made up of 11 Xvls and four Xvlt enclosures per side, each complemented by 12 X-Line
Xsub subwoofers.
12 XLC 127 DVX tops on each side of the stage
served as outfills, providing coverage to fans occupying the NSH-Nordbank Arena's highest
rows of seats. The system was completed by 12
delay towers (each armed with six X-Line Xvls
enclosures) at the rear end of the stadium and a
central cluster (composed of three XLD281 tops)
in front of the stage.
To provide additional punch in the low frequency range, a horizontal bass array consisting of
20 Electro-Voice MTL4 woofers was set up in
front of the stage--to the great delight of fans of
the rappers Snoop Dogg and Sammy Deluxe,
who, despite the throng of people in front of the
stage, were treated to a bass like thunder.
Pulling all the strings was system technician
Thorsten Schulze, who, in the NetMax system
controller, found the optimum tool for this complex and demanding job. From his workstation,
Schulze not only had dominion over the 124 signal paths feeding the PA but was also the main
L/R outputs of the three autonomous FOH positions in the middle of the stadium. "TG-7 amplifiers and NetMax are the ideal combination for
a job like this," commented Schulze. "There is no
other controller on the market with which you
can manage and supervise this number of signal paths in comfort." Even at an event as large
HIGHLIGHTS
as Live Earth, Schulze far from exhausted the
NetMax controller's capabilities. "I'm only, in
fact, using NetMax as a matrix for routing signals to the various different systems and for timing and level adjustment," he said. "The rest of
the processing is handled by the TG-7 amps
themselves, which have their own processors
on board." Nonetheless, from his workstation
Schulze retained a clear overview of proceedings. "In this discipline," he told us, " NetMax is
simply unbeatable. Once you have digested the
wealth of functions and possibilities it offers,
even the most complex things suddenly seem logical and simple. The upshot is that instead of
being forced to rely upon presets, as is the case
with other controllers, I can tailor each set-up-including the graphic interface for laptop or tablet PC operation--to the requirements of the situation.
Setting the tone – Midas consoles
Three technicians occupied FOH position in the
centre of the arena: Bernd Buthe, Ingo Haasch
and Jörn Müller, each of whom presided over
an independent FOH position. Two Midas
Heritage 2000 consoles and a Heritage 3000formed the nerve centre of operations. Aside from
a few minor variations, all the three side-racks
were stocked with the same effects and dynamic processors: "We consulted the bands’ engineers in advance," explained Ingo Haasch, "and
opted for this arrangement for two reasons:
Firstly, the H2000 and H3000 are both consoles
with which any FOH engineer is happy to work,
and secondly, none of the engineers had any
special requests in this instance, which was helpful—it would have been a challenge to accommodate too many unusual demands with a schedule this tight! Furthermore, having three identical front-of-house positions creates a welcome degree of redundancy. If there had been any
sudden changes in the running order, we'd have
been able to reassign the consoles quickly and
without complications," says Haasch. The same
flexibility was in evidence at the three monitor
positions, where three MIDAS H3000 consoles
took turns providing the foldback. A total of 13
Klark Teknik DN1248 splitters provided--again,
from the FOH position--for flawless signal distribution between the FOH and monitor positions,
as well as feeding the two outside broadcast
trucks at the location.
The tight schedule was adhered to
As Bernd Buthe explained, the timing for the Live
Earth festival in Hamburg left very little room for
error. "Only 15 minutes had been allowed for each
set change, the reason being that the noise emission regulations in force at the HSH-Nordbank
Arena are very strict and stipulate that events
must end before 11 pm. The turnaround times
backstage were limited to 45 minutes between
the individual acts, so there was no time for anything more than a line check through the headphones. To add to the fun, some of the artists had
brought huge backlines with them. In the case
of Chris Cornell or Roger Cicero, for example, the
FOH and monitor consoles had more than 40 separate inputs to accommodate, so the engineers
really had their work cut out to get things ready
in time.
Artists like Sascha and Sammy Deluxe showed
that less can mean more. Sascha had prepared
an acoustic set especially for the Live Earth festival, whilst Sammy Deluxe's backing group comprised three other rappers and a DJ. Kaspar
"Tropf" Wiens, Jan Delay's engineer, was more
than satisfied with the sound: "Actually, I'm a purist" he confessed, after the exuberant performance by the four-man band. "I want quality--not
bells and whistles--which is precisely why the
Midas desks appeal to me. At festivals in particular, where very little time is available for the
sound check, I prefer analogue consoles like the
H2000 so I don't have to worry about intricate
routing assignments and can cut directly to the
chase: the line check."
Midas and Bernd Buthe of Satis&Fy – great sound
every time
7
HIGHLIGHTS
A mass marathon taking in seven major cities – with Snoop Dogg, Katie Melua, Yusuf Islam and Enrique Iglesias
A system for all stars and all styles
But it was not only the artists and sound engineers that were delighted; the fans were too,
as the sound was never less than excellent
throughout the entire star-packed marathon.
During the set by Latino queen Shakira, who opened the show in Hamburg, the sound was as brilliant as the performance itself, and this pattern
was maintained as act followed act: there were
the thumping bass lines underpinning Snoop
Dogg's rapping; a genuine whiff of Havana as
Reamonn shared the stage with Michael Mittermeier and the group Rhythms del Mundo,who
made everyone forget the rain; and then Sasha,
Enrique Iglesias, Silbermond, Juli and Katie
Melua--each with their own sound and their own
style, which the system respected and even enhanced--and towards the end Mando Diao and
Chris Cornell, ex-frontman of Audioslave and
Soundgarden.
In short, it was an event on a vast scale, presenting a succession of quite different acoustic
challenges that had to be met within the most
exiguous of time frames. Live Earth was also a
triumph for the equipment--as well as the technicians and engineers involved--that demonstrated how good it is possible for music to sound in
a large stadium.
8
Live Earth Hamburg –
Equipment list (extract)
Main PA
22 x Electro-Voice X-Line VLS
8 x Electro-Voice X-Line VLT
24 x Electro-Voice X-Line Sub
20 x Electro-Voice MTL 4
6 x Electro Voice amp rack with 6 x TG 7
Sidefills / Nearfills / Delays
24 x EV-XLC 127 DVX
3 x Electro-Voice V-Line XLD 281
16 x Electro-Voice X-Line VLS(SR/SL)
8 x Electro-Voice X-Line VLT (SR/SL)
4 x Electro Voice amp rack with 6 x TG 7
FoH / Monitor / System
1 x EV N8000 loudspeaker management system
2 x MIDAS Heritage 2000/48 TP, 44 M./4 st.
inputs
4 x MIDAS Heritage 3000/48 TP, 44 M./4
3 x Klark Teknik DN 370, 2-channel graphic
equalizer
13 x Klark Teknik DN 1248 mic splitter
LIVE EARTH - A WORLDWIDE SPECTACLE
On the 7th July, a team led by ex US Vice
President Al Gore and Live Aid producer Kevin
Wall made a massive impact with a planet-encompassing relay of concerts featuring over
150 of the world's top acts performing in the
following eight arenas: Wembley Stadium
(London), Giants Stadium (New Jersey), Aussie
Stadium (Sydney), Makuhari Messe (Tokyo),
The Oriental Pearl (Shanghai), Copacabana
Beach (Rio de Janeiro), The Cradle of
Humankind (Johannesburg) and the HSHNordbank Arena (Hamburg). Undoubtedly one
of the highlights of the festival was the concert
in London's Wembley Stadium, which combined massive names – including Madonna,
Genesis, Foo Fighters, Red Hot Chili Peppers,
Metallica and the Black Eyed Peas – with perfect production. As at other major events in
London last summer, it was a superbly drilled
team from Britannia Row that provided the sound reinforcement – relying, as ever, on systems from Electro-Voice
HIGHLIGHTS
BRITANNIA ROW, LONDON
X-LINE IN ACTION AT LONDON`S BIGGEST SHOW
Britannia Row’s Electro-Voice X-Line PA has truly earned its stripes this summer. Within the space of just
one month, one system has played to nearly 150,000 music fans at two outdoor festivals in London’s Hyde
Park, and audiences in excess of 200,000 at three high-profile concerts in the brand-new Wembley Stadium
Event highlights of the summer in London – the "Concert for Diana“, "Live Earth“ and Metallica in the Wembley Arena and "Hyde Park Calling“ and "O2 Wireless“ in Hyde Park
Why does Britannia Row wheel out its X-Line system for these large-scale events? "I love the sound of it," says Britannia Row MD Bryan Grant,
"—we have other tools in our toolbox, but X-Line
does so well for the multipurpose shows, especially in big spaces."
O2 Wireless and Hyde Park Calling Festivals
The "festival" format of the O2 Wireless and Hyde
Park Calling events is uniquely urban, with most
fans attending for a single day. Topping the bill
on different days were Peter Gabriel, Aerosmith,
The Kaiser Chiefs, White Stripes, Faithless and
Daft Punk. For the fifth successive year, Brit Row
put forward the EV X-Line system as the main PA
for summer events in Hyde Park—“tweaked and
trimmed each year to accommodate changes in
the site configuration and because we're always
trying to work out how to do it better," says Grant.
"This year, the arrays were flown quite a lot wider, on the outside of the video screens. The side
hangs were therefore very close to the main system hangs; not conventional, but I was pleased
with how well that worked."
The Concert for Diana, Live Earth, Metallica
From Hyde Park the EV inventory was shipped
across town to the new £800 million national stadium in Wembley. With live audiences of 70,000,
The Concert for Diana—staged to commemorate the 10th anniversary of the death of Princess
Diana—was watched by many millions around
the world.
The massive EV X-Line rig used for the Concert
for Diana, Live Earth and, just one night later,
Metallica, consisted of main left and right hangs
of 12x Xvls and 4x Xvlt per side and left and right
hangs of 12x Xsubs per side, all flown. Side left
and right hangs upstage comprised of 14x Xvls
boxes per side and an additional 24x groundstacked Xsubs. Britannia Row MD Bryan Grant
commented: "We used a lot of distributed fire power to fill the space, and, thanks to the construction of the roof area, even with Metallica, we
didn't upset the neighbors while achieving levels of over 104db at the console—a challenging 77 meters from the downstage edge."
In the stadium to mix front-of-house for the
band Razorlight, engineer Ian Laughton gave his
impressions of the Live Earth experience. “It was
an amazing day, to walk into the new Wembley
stadium after all these years, and to see my favorite PA system flown there. I won’t leave home
without the X-Line system and have used it on
the last two Razorlight arena tours. I wasn't mixing on my normal desk, but I wasn’t worried because of the X-Line—the coverage and quality
is fantastic.”
Bryan Grant says he's ecstatic about the success of the Wembley events. "X-Line is the ideal system for a multi-band bill, as these two
events demonstrate. At the Concert for Diana, the
musical mood was more middle-of-the-road,
easy listening, a bit of orchestra, a bit of pop.
Live Earth had a much more rocking bill, going
from Genesis to the Pussycat Dolls to the Foo
Fighters, so X-Line had to deal with that sort of
weight. And then there's Metallica, full-on heavy rock, and we had to fill a stadium where the
top seat is 47 meters above the pitch. X-Line has
the flexibility to deal with the changes in conditions and the changes in demands."
Metallica's big London date attracted 70,000
heavy metal fans to the stadium, but the band
also contributed to the Live Earth festival the day
before. "The PA output for Live Earth was attenuated for the TV show, and we had presenter platforms and B stages and all sorts of things
in front of the PA. Consequently, Metallica's
front-of-house engineer 'Big' Mick Hughes was
concerned that the X-Line system would be loud
enough for their own show."
Not a problem: overnight, Brit Row's systems
technicians changed the front-of-house and monitor positions, and reattenuated the system to
give a lot more energy between the downstage
edge and the mix position. According to Grant,
“it worked really well in the end—Mick was happy."
Thoroughly satisfied – "Big Mick“ Hughes, Metallica's FoH man
9
HIGHLIGHTS
GENESIS-TOUR 2007
COMEBACK WITH THE X FACTOR
Genesis on stage, Revelation in the gods – 105 metres back, the sound was still perfect!
During Genesis's tour of German stadiums in
June and July, 48 X-Line enclosures provided
powerful delay audio in Hanover, Stuttgart and
Leipzig.
British supergroup Genesis has always been
known for the excellence of its live sound. After
15 years' absence from the stage, there was a
natural reluctance on the part of band members
to jeopardize that fine reputation during the
group's live comeback this year. They needn't
have worried. Once again, the legendary name
proved a guarantee of sophisticated concert sound. A formidable arsenal of loudspeaker enclosures was prepared to exceed the expectations
of every fan in every seat of every XXL arena on
the tour, with no fewer than 48 Electro-Voice XLine systems deployed in each of the vast stadiums of Hanover, Stuttgart and Leipzig–a battery
even more impressive than the ordnance used
in North London for the Wembley leg of the Live
Earth event, where the main PA comprised of a
"mere" 32 X-Line systems (plus subs).
As was the case in Hamburg at the Live Earth
show, EV TG-7 amps with integrated RCM modules provided the thrust, while a control bus
ensured that all the parameters of both the power amplifiers and the connected loudspeakers
could be remote controlled and supervised from
10
the control room. As well as three platforms for
follow spots, the two imposing delay towers
were decked with four hangs of 12 X-Line enclosures, projecting the sound to the furthest reaches of the audience over 100 metres away! The
challenge for system engineers Stefan Holz and
Ingo Kleinhölter was to ensure members of the
audience in the furthest row of seats experienced sound pressure levels not discernibly different from those at the front of the playing field
itself. This meant that careful attention had to
be paid to the curvature and composition of the
arrays; the fact that the X-Line allows planners
to combine enclosures with two different coverage patterns–the Xvls with its 90° x 5° and the
Xvlt with its 120° x 7°–proved of crucial importance when it came to finding a solution. X-Line’s
to deliver brilliant and transparent sound over distances in excess of 100 metres is, of course, due
to the fact that each enclosure boasts no fewer
than 3 vertically aligned 1.4" tweeters. As Stefan
Holtz remarked with a wry smile after the show
in Stuttgart: "Now we know eight Xvls cabinets
can deliver satisfactory results over distances
of up to 105 metres."
Impossible without… – EV X-Lines hang like streamers
from the delay tower
A spectacle of biblical proportions with sound to match
– Genesis with EV in Stuttgart
HIGHLIGHTS
LIONEL RICHIE ON TOUR IN GERMANY
ALL NIGHT LONG – WITH EV
Enthused audiences at five open-air events in Germany – Lionel Richie and Electro-Voice
Five open-air concerts in Germany gave fans a
chance to hear R&B legend Lionel Richie perform live this summer. Satis&Fy of Werne and
an Electro-Voice X-Line system ensured the sound was perfect for each …
Satis&Fy entrusted responsibility for stage and
system equipment to Rüdiger Nürnberg and Tobi
Hoff, a team who work together with consistently outstanding results. Equipped with EV’s X-Line
they were able to provide an optimal balance of
power and flexibility: "We took a total of 24 tops
and 20 subs with us on tour,” reports Nürnberg,
“driven by six amp racks charged with EV TG-7
amplifiers, though the exact configuration for
each show was determined by the demands of
the venue."
In Wiesbaden's "Bowling Green,” where Lionel
Richie delighted an audience of 9,500 on July
17th, nine Xvls and three Xvlt enclosures were
deployed on each side of the stage, with eight
Xsubs per side reinforcing the low frequencies.
System Engineer Tobi Hoff configured the system according to a tried-and-tested formula:
"The routing between the console positions was
the exclusive responsibility of NetMax, which
also handled the synchronization of the main PA
with the delays. All other processing duties were
assumed by the TG-7 amps under the stage,
though the IRIS-Net network ensured that I retained access at all times to all parameters and
could therefore intervene as and when I wished, the communication between the amps and
the NetMax being bi-directional.
“Furthermore, NetMax handles the summing
of the two consoles at the FOH position as well
as providing background music for the walk-in
and walk-out. "A nice detail, that," adds Hoff, "because it means we can start pulling down the system the moment the concert ends without depriving the audience of music while it is vacating the premises." When schedules are tight,
this is an enormous advantage, though in the
case of the Lionel Richie tour there were no such
constraints. "This tour was organized in typical
American fashion," says Nürnberg. "Apart from
one occasion, we had one full day in each venue for setting-up, with the next day reserved for
the show and dismantling of the system, so we
had more than enough time to prepare for each
gig."
Kyle J. Hamilton, Front-of-House Engineer for
Richie's "Coming Home" tour, was certainly convinced: "I am very satisfied with this system," he
said, after the show in Wiesbaden. "The X-Line
has a really impressive midrange, which ensures that the guitars and Lionel's vocals in particular come out clearly and at the right levels.
Positioning them up-front in the mix therefore
poses no problems." When preparing for a show,
Hamilton invariably follows the same routine:
"When I arrive at the venue, I play back a selection of my own CDs through the PA and listen,
making whatever corrections are necessary
with the equalizer. As a general rule, I dispense
with measuring equipment altogether when tuning the PA on tour." In Wiesbaden, of course,
since the noise emission regulations are extremely strict, an SPL meter is more or less obligatory, but high SPLs do not in any case loom large among the audiophile's priorities: "A concert"
says Hamilton "should sound like one of the CDs
– but with that special live magic added."
The SPL readings during the sound check in
Wiesbaden provoked an astonished reaction
from Kyle J. Hamilton: "While the system engineers were adjusting the PA, we were walking round the venue together measuring the level. I couldn't believe it when I noticed that the
level over the entire distance of around 50 metres from stage to FOH never varied by more than
1 to 2 dB. I thought the measurements must be
erroneous, but no: that was in fact the case!"
Electro-Voice and "that special live feel" – FoH
engineer Kyle J. Hamilton
Lionel Richie's "Coming Home" tour 2007,
equipment list (extract)
Main PA
16x Electro-Voice X-Line Xvls
8x Electro-Voice X-Line Xvlt
20x Electro-Voice X-Line Xsub
6x Electro Voice amp rack with 6xTG 7
+ RCM 26
1x Electro-Voice N8000 Loudspeaker
Management System
1x Klark Teknik DN370
11
WORLDWIDE: ELECTRO-VOICE
GLASTONBURY FESTIVAL 2007
A CHALLENGE AND AN INCENTIVE
“Jazz World is generally regarded as the
musicians’ stage,” says APR Audio’s crew
chief Matt Gunter. “This is where the real
musical talent plays, and we go the extra
mile for them. This stage is respected by the
performers, engineers and audience because of the consistency of the sound. Jazz
World uses the same PA every year, and we
bring a good experienced crew."
Following the success of their work there in
2005, APR Audio was once again asked to provide EV X-Line PA and X-Array monitor systems
for the Glastonbury Festival's Jazz World stage
This attracted crowds of up to 30,000 gathered
to hear artists such as Amy Winehouse, Corinne
Bailey Rae, Damian Marley, Rodrigo Y Gabriela,
John Fogerty, Guillemots, Mr Hudson & the
Library, Fat Freddie’s Drop and Seth Lakeman.
For the main PA, Shuttlesound’s Jason Kelly
helped design a system using EV X-Line
Xvls and Xvlt cabinets flown from 16m towers, with 28 Xsubs deployed in two-wide,
six-high stacks, plus four for center fill. EV’s
new XLE181 cabinets provided front fill, and the
system was run from EV’s Precision Series
P3000RL remote control DSP amplifiers. “We
used EV’s dedicated IRIS-Net management software to control the system, but kept it very plain
and simple, mainly to keep the levels in touch.”
At FOH, the main console was a Midas Heritage
3000, with a Venice 160 used as a main control
to drive the system. Klark Teknik DN370 provided
JAZZ ON THE DANUBE, STRAUBING
With 10,500 visitors this year – a record – the
Jazz on the Danube festival drew to a triumphant conclusion on the 22nd July. As in previous
years, a team led by Ingo Haasch was responsible for the sound reinforcement
The 21st edition of what is now established
as one of the most important jazz festivals in all
Europe drew record audience figures, with over
10,500 music-lovers in all attending the event in
2007. The level of interest shown by both the print
and broadcast media was also highly gratifying
for the organizers: not only were there numerous previews of the festival in advance of the
event, but ZDF and Bavarian TV among others
sent camera crews to Straubing to give their viewers a sense of the atmosphere in the marquees.
12
grab EQ on the H3000; a KT DN9344 Helix digital
slave equalizer was used for the main system.
On stage, APR Audio provided EV Xw15A wedges and X-Array cabinets for side and drum fills.
All speakers were run with Klark Teknik DN9848
digital system controllers and monitored via KT’s
Elgar control software; monitor engineer Laurie
Brace simply tweaked his inputs on a PC placed
next to the Heritage console. The monitors were
driven by P-RL amps, racked and remote-controlled so as not to impede access to the stage.
“We had some very positive comments from
band engineers, production and audience alike,” reports Matt Gunter. “Despite the weather,
the system performed flawlessly. We used 16meter towers this year and a different deployment of the Xsubs, allowing us to focus as much
sound as possible in the Jazz World field, which
helped us keep both the band engineers and the
noise police happy.”
RECORD RESULTS WITH EV, MIDAS, KT
To satisfy the very high demands of jazz lovers
when it comes to sound quality, the organizers
once again commissioned a team led by Ingo
Haasch to handle the sound reinforcement. The
centrepiece of Haasch's solution this year was
an XLc DVX line-array system from ElectroVoice, which marked a change, but the choice
was well considered: "Last year, we worked with
compact line-array systems, the XLD 281 and
XLC 215," explains Haasch, "but the programme
this year promised music with a harder edge, so
we switched to the larger XLc DVX." To ensure
sufficient pressure was generated in the bass
region, Haasch opted for a combination of Xlc215
and PX2181 subwoofers – the latter from ElectroVoice's Phoenix series. The power was supplied
by Electro-Voice TG7 Tour Grade amplifiers.
Each of the 24 TG7 amps was equipped with an
RCM 26 module, which represents a method of
controlling and supervising their performance.
The FoH position was dominated by a MIDAS
XL 200. Equally impressive, in the view of the
first class line-up of acts (including Seal, Candy
Dulfer and Roger Cicero), was the quality of the
foldback, with DYNACORD D 12-3 front fills, EV
Xi-2123 side fills atop X-Subs and DYNACORD
PowerSub 315 drum-fill extensions providing the
performers with monitoring of the very highest
quality. The monitors were driven by EV CP3000S
and EV CP4000S power amplifiers supported by
DN9848E processors from Klark Teknik.
For more information, visit: www.jazzanderdonau.de
WORLDWIDE: ELECTRO-VOICE
CALGARY STAMPEDE 2007, CANADA
STAMPEDE SOUND WITH SOUND ART & EV
As the largest outdoor rodeo in the world and one of the biggest shows on the Canadian calendar, the Calgary
Stampede attracts well over a million visitors during its ten days in July. In addition to rodeo competitions,
the Stampede program runs the gamut from chuckwagon races to agricultural exhibits and all kinds of
entertainment events on numerous stages
Impressive performances, great shows – the Grandstand Stage by day (l.), the rodeo (m.), and the Grandstand Stage by night (r.), at the Calgary Stampede
Sound Art Calgary, Inc. deploys a wide range of
equipment from Electro-Voice to precisely meet
the Stampede’s varied sound reinforcement
needs, from compact Sx and Zx speakers on
stands to the X-Line, XLC-DVX and XLD line-arrays flown for the Grandstand shows in front of
30,000 people, with headliners including INXS
and Collective Soul. Midas mixing consoles and
Klark Teknik EQs complete the picture.
“We’ve used EV speakers for every one of
the twelve years I’ve been involved in these
events,” says Dan Frerichs, General Manager,
Sound Art Calgary. “Our EV deployment continues to evolve, from back in the day with the DML
series, through to X-Array and X-Line, to today
with the new Tour Grade (TG) amps, XLD and
XLC-DVX line arrays controlled with IRIS-Net
software. Working with EV has helped us maintain state-of-the-art standards here year after
year, continuously streamlining operations and
improving performance.”
Sound Art deployed combinations of XLCDVX, XLD and Xsub line array systems at the
three largest venues in the park, all powered by
remote control TG and Precision RL amps. Sound
Art are longtime RL/IRIS-Net users, and Frerichs
is impressed with the new flagship EV amps:
“They all performed flawlessly; we used the TG
amps loaded with RCM-26 modules for DSP via
IRIS-Net, and the level of control and detailing
on hand is amazing. Plus these amps are light,
extremely efficient and, most importantly, they
sound great.” In addition to these larger systems,
Sound Art use dozens of Zx5, Sx300 and SxA100+
boxes to provide sound for around 16 additional
stages.
The main shows at the Stampede are on a
huge mobile stage, tugged into place with an
oversized tractor. “All the speaker platforms for
the grandstand show are on drive-able scissor
lifts,” Frerichs adds, “and we need to go from no
speakers anywhere to covering audio for over
30,000 people in fifteen minutes. The arrays are
driven into place and plugged in, and IRIS-Net
tells us instantly if one isn’t patched-in correctly. That means a lot when every second counts.”
Calgary Stampede 2007 equipment list
(extract)
Electro-Voice
20x X-Line Xvls
4x X-Line Xvlt
40x X-Line Xsub(F)
60x XLC127-DVX
8x XLC118
24x XLD281
24x Xi1152/64F
8x MTL2B
48x Xw12 monitors
24x Zx5 speakers flown
40x Sx300
20x SxA100+
44x TG-7 amplifiers running IRIS-Net
20x P3000RL amplifiers
Midas
Midas XL4
Midas Heritage 1000
3x Midas XL250
2x Midas Venice 320
Klark Teknik
12x Klark Teknik DN360 EQ 710
13
WORLDWIDE: DYNACORD
WESTERN HILL HIGH SCHOOL, FORT WORTH
Disney’s High School Musical is HOT. What started as a Disney Channel TV movie in January
2006 has turned into a global phenomenon.
NAMM and Disney partnered with Full Compass
Systems to provide equipment and expertise for
”HIGH SCHOOL MUSICAL“ WITH COBRA
the Fort Worth high school production, with support from Bosch Communications Systems’
Thomas Hansen, Michael Doucot, Monte Wise
and Jeff Taylor. The equipment spec included a
DYNACORD Cobra-2 line array for main PA (2x
TOP & 2x Sub per side), mixed on a MIDAS
Verona, with Electro-Voice monitors and fills.
“We understand the importance of the arts in
our schools and all of us were glad to support this
production,” says Monte Wise. “It was our desire to provide audio excellence to the production and help develop a team attitude of professionalism with all the students and teachers involved in the event.”
R. Kevin Betts of Lone Star Productions mixed
the performances; this was his first time running
a Cobra rig, and he liked what he heard: “Walking
into a show with an unfamiliar PA is always a
THE MICHAEL SCHENKER GROUP IN SEATTLE
Seattle’s Mills Music is on a roll with their portable powerhouse PA. The system is built around
a Dynacord Cobra-2 line-array system, with EV
amps, monitors and mics, a Midas Venice 320
mixing console and KT Square One EQs and
Dynamics, and it’s proving unbeatable for a really wide range of events and venues. Mills Music’s
Ric Webb recently used the rig for a gig by
Michael Schenker at Studio Seven. "We occasionally bring the Cobra system in to boost their
HARD ROCK WITH THE COBRA
in-house system," he explains.
"The Cobra is perfect for that, as
the sightlines stay open and
every corner gets covered—it’s
line-array performance made
easy. And, sure enough, Cobra
rocked the house; their in-house
engineer flips out every time we
bring the systems in—he can actually hear his
mix! “There’s a reason we’re getting serious mileage out of this system. Ground-stacked or flown, the Cobra is plug and play all the way, with
incredible throw and coverage for such a small
footprint. Add on the EV, Midas and KT gear and
you have unbeatable performance at every step
in the signal chain for any small to medium-sized show.”
INTERNATIONAL BASS CONVENTION
Michael Schenker Group in Seattle Equipment list (extract)
Main PA: Dynacord Cobra-2;
FoH/Monitors mix:
Midas Verona V/320/8/TP;
Processors: KT Square One Dynamics
and Graphics;
Stage monitors & fills: EV SxA250,
ZX5, SxA100+, QRx153/75 powered by EV
CP4000S & Q66 amps;
Microphones: EV N/D468. N/D868, Co4,
RE20, RE200, Raven,
N/D767a and RE
SUMMIT WITH THE COBRA
. Over 1000 bassists from around the world—including low-end luminaries Stanley Clarke and
Avishai Cohen—flocked to Oklahoma City
University for the recent International Society of
Bassists Convention. One of the biggest DYNACORD users in the Midwest, Cory's Audio Visual
Services, Inc. (OKC), supplied a combination of
Cobra-2 line array TOP boxes and PWH subs.
14
challenge. I researched the Cobra on the
web and spoke to some friends who use the
system and love it, and, sure enough, as soon
as I got the boxes powered up and EQ’d, I
knew I’d made a new friend. The Cobra is so
smooth and responsive—I thought to myself ‘awesome, the show is going to sound
great!’ And it did. I was especially impressed with the subs; they were extremely tight
and easy to keep under control in the narrow, deep room, and were seamless as part
of the full-range system—there was none of
the mid-frequency confusion you often get
with line arrays. The combination of the
Midas preamps and superb intelligibility and
throw out the Cobra boxes was unbeatable—the sound quality really enriched the
performances and audience’s enjoyment.”
“The Cobra’s quick setup, clarity and coverage
make it unbeatable stacked or flown,” says
Preston Williams of Cory’s. "Stanley Clarke brought his own engineer who saw the Cobra rig
and told me it was going to be a great day! After
all, nothing delivers tight responsive low end like
the Cobra PWH sub.".
WORLDWIDE: DYNACORD
"AMERICAN IDOL" HOMECOMING
The Seattle suburb of Bothell, WA, enjoyed
Dynacord, Electro-Voice, Midas and Klark
Teknik sound for a May 11th homecoming concert by local hero and "American Idol" finalthree contender Blake Lewis
The American Idol crew was on hand to film
Lewis and his four-piece band performing in a
local park—after a parade in his honor—via a
Dynacord Cobra-2 ground-stacked line array system, along with an array of Electro-Voice microphones and monitors, Klark Teknik Square One
processing and a Midas Verona 320 for FOH &
Monitors double-duty. The PA was supplied by
Mills Music of Seattle, whose Ric Webb manned
the mix on the Midas console.
“It sounded fantastic,” says Webb. “The
Cobra combines plenty of power, complete coverage and superb sound quality while keeping
sightlines open, both for the live audience and
the additional 30 million viewers watching the
show on TV! Even though we were down in a
concrete bowl, the Cobra threw deep into the audience areas with plenty of SPL, all with no delays necessary. It’s an incredibly capable system
for its size; the city anticipated an audience of
2000, but 8000 turned out to see Blake Lewis, and
everyone heard the show loud and clear—even
above the screaming girls!”
Webb is also a big fan of the Klark Teknik
Square One range: “Square One Dynamics are
wonderful—they offer great flexibility and control, with practical presets, the hard knee option, etc. And I can’t say enough about the Square
One EQ—it’s on par with or better than any other
high-end analog EQ I’ve ever used, with a superclean audio path. Both the Square One units of-
SHOWCASE IN FLORIDA
1 IDOL, 1 COBRA, 30 MILLION VIEWERS
An idol of its own – Ric Webb of Mills Music at the Midas console (l.), local hero and "American Idol“ finalist Blake
Lewis (m.), and a heavily guarded DYNACORD Cobra 2 system (r.), in the Seattle suburb of Bothell
fer unbelievable value.”
Along with a range of EV mics on drums, Webb
put a Raven on the guitar cab—something more
and more pro engineers are doing with impressive results. “Our EV rep (Kevin Johnson, Left
Coast Marketing) told us we would hear things
on the guitar we’d never heard before. And, sure
enough, it was very surprising—we got a ton of
guitar signal across every bandwidth; it was like
a breath of fresh air compared to the standard
guitar cab mic. We used the new EV REV wireless system with N/D767a handheld while gifts
were presented to Blake Lewis—a commemorative star for the park (presented by the Mayor
of Bothell) and a Seahawks 12th man jersey (presented by Seahawks Quarterback Matt
Hasselbeck. From input to output, all the equipment sounded superb and performed flawlessly—it’s a perfect PA for events like this.”
Blake Lewis in Seattle – Equipment List
(extract)
Main PA: Dynacord Cobra-2 System
FOH/Monitors mix: Midas Verona V/320/8/TP
Processing rack: Klark Teknik Square One
Dynamic and Graphic
Stage monitors: multiple Electro-Voice
SxA250, ZX5 and QRx153/75 powered by
Electro-Voice CP4000S & Q66 amplifiers
Side fills: Electro-Voice SxA100+
Stage microphones: Electro-Voice N/D468.
N/D868, Co4 and RE200 (drums);
Raven (guitar cabinet)
Wireless microphones: Electro-Voice REV
with N/D767a handheld (presentations);
RE-2 (announcements)
HIP HOP WITH THE COBRA
Drummer Boy Sound (Miami, Fl.) recently deployed their powerhouse DYNACORD Cobra system for main PA duty during a show at Sobe
Live, South Beach, Miami, featuring heavy hitters from the R&B/hip hop world including: Pall
Wall, Twista, 8Ball & (Hip Hop legends) MJG,
Sobe Records’ own "Stacks", DJ Element, DJ
Epps, DJ Drama, and many more.
“The tour manager from Atlantic Records was And the Cobra makes five – Harold Cummings (DBS),
particularly impressed with how much low end Rapper Twista, Tangela Cummings (DBS) and Darryl
our three-per-side setup of DYNACORD PWH Cummings (DBS) at the Sobe Live
subs delivered," stated Harold Cummings of DBS. mally hear that Hip Hop shows take a toll on
"Twista was especially happy with how clear and amps, speakers and monitors. This was never
powerful the PX1122M monitors were. You nor- an issue with this "battle tested" system."
Hip hop at Sobe Live – Equipment list
(extract)
4 x EV Phoenix PX1122M
1 x DYNACORD DSP244 system processor
2 x EV ZX1
1 x EV Q66 amp
2 x DYNACORD L2400
4 x DYNACORD Cobra 2 tops
6 x DYNACORD PWH subs
Midas Venice 320 (32 channel)
Klark Teknik DN370 EQ
15
WORLDWIDE: MIDAS
MIDAS CONSOLES IN CONCERT
SETTING THE TONE – WHETHER ANALOGUE OR DIGITAL
For many years, top sound engineers have relied upon Midas consoles to mix genres ranging from classical music to heavy metal,and everything in between. While last year’s introduction of the digital Midas XL8
Live Performance Systemwas a further milestone in pro audio history, enthusiasm and demand for the
sound quality and reliability of Midas analogue desks continues apace.
Stations of a career: the digital Midas XL8 live performance system recently ensured excellent sound at the Live Earth Concert at the new Wembley Stadium as well as at the last
Metallica tour. Sound engineer „Big Mick“ Hughes (m.) was delighted
Metallica’s long-time FoH engineer and equally
long-standing Midas devotee Big Mick Hughes
has fulfilled the promise he made when Midas
announced the development of a digital mixing
system: to take it on tour with Metallica as soon
as it was ready.
The moment arrived in late June as Metallica
embarked on a 12-date tour of shows and festivals across Europe, starting in Lisbon and ending in Moscow. As all shows plus two days of
production rehearsals took place during just
three weeks, two identical control and backline
systems leapfrogged their way across Europe,
with both XL8s supplied by Canegreen via the
M7 Group, which facilitates UK XL8 rentals.
Despite providing feedback throughout the entire XL8 development design process, Mick admits to some trepidation when it came to abandoning his trusty XL4 – which he personally owned – in favour of the new technology.
“I always considered myself an analogue diehard and I’ve used Midas since the Pro 1,” he
says. “I tried most other digital consoles along
the way but I never felt comfortable. The XL4 is
a heavy beast, it feels firm and positive, whereas some of these digital consoles just didn’t
feel substantial, and I’m too big to deal with anything that dainty! And I was never convinced by
the way they sounded; there was something inherently wrong. So when Midas said they were
coming up with a digital console I thought if the-
16
re was one I’d like, this would be it.
“If I was going to change to a digital console
it would have to be something I could operate
and feel comfortable with. The last thing I want
to do is scroll through a load of pages to do one
little thing, and while I’m doing that I’m missing
something else. As an engineer I wanted it to
feel semi-analogue; I wanted to be able to touch
a knob on a channel, press a button and send a
channel to stereo, turn a gain, push a fader and
have sound come out of the PA. The operation
of it is so simple, there are actually pictures of
the units and channels and somehow feel like
you’re plugging them in, so it’s perfect for me. If
it’s going to be used by everybody, people walking up to it cold have to feel some level of comfort.
Despite the amount of increased features and
technology at his fingertips, Mick likes the fact
that it hasn’t changed how he works.
“I’ve configured it pretty much as I would have
my XL4; I’m doing things that I would have done
on my XL4 and it feels similar. It’s made it easier
because the XL8 brings the channels to you. I
don’t have to get off my chair anymore. When I
want to work on the kick drum I don’t have to
scurry down one end, I can press the button and
it’ll come to me!”
Mick has ditched his copious outboard rack
and is using the desk’s onboard processing for
pretty much everything. “I have one external ef-
fects unit – a multi effects unit which does one
thing in a song which has to happen, and that’s
it,” he says. “I really like the DN780 Klark Teknik
reverb which has been emulated digitally in the
desk, so for me to use them is great.
“Using it in a live situation for the first time I actually think it sounds better than the XL4 I’ve known and loved for 11 years. There’s an intelligibility and clarity that I’ve never really heard before. I can only put it down to the fact there’s not
a 100m multicore coming off every microphone;
we’ve got short leads going straight to the stage box and it’s digital from that point on so there’s no loss in frequency response at all. All of a
sudden you’re pushing faders up and going
‘Wow, does that mic really sound like that?” It’s
been a real eye opener for me. I have to learn
what these microphones sound like again because I’ve never heard them sound like this.”
The ability to store settings between gigs is also
a huge advantage for Mick, and one he envisages will benefit him more and more over time.
“We set up the first console and stored all the
settings on the USB key, then when I got the second system I put the key in it and all the settings
came back again, whereas before I’d have been
starting from scratch! When we start another
tour I’ll have my stored files, and on the first show
of that next tour I’ll be able to put them into the
desk and it will be exactly the same as the last
time I used it. You might have a tour when you
WORLDWIDE: MIDAS
Metal goes digital: James Hetfield, Kirk Hammett, Lars Ulrich and Robert Trujillo of Metallica are on tour with Midas XL8. On the road with them: systems from Klark Teknik
(below middle). Their heart beats analog: Marios Kallergis, FoH engineer Kostos Michopoulos and Omikron system designer Vangelis Petridis of the Pallas Theater, Athens (below right)
really nail the bass guitar, for example, so if you
can keep that and take it onto the next tour you
can build a bigger picture. Before, you lost it at
the end of the tour, and you always knew that sound was available but it was sometimes really
hard to get it to happen again. And with a few
years between the tours, you forget what you’ve
done. I’m really feeling the difference with this
desk already, but when we go from tour to tour,
that’s when it’ll really show itself.”
Mick’s also quickly grasped the implications of
XL8 when it comes to shipping and carbon footprint reductions. “It’s much easier to take the little key fob and rent an XL8 locally. We’re also
saving in the physical space we take up, and that
means extra fans at gigs.”
A fitting comment given that Metallica was one
of the starring acts at the Wembley Live Earth
concert midway through the tour.
Meanwhile on stage, monitor engineer Paul
Owen is at the controls of a trusty XL4, which he
is using with a Klark Teknik Square ONE
Dynamics units for drum gates. He’s particularly impressed with the Solo Output feature which
monitors the sidechain filter through the XL4.
“This is a great feature - you can hear what’s
activating the gates which you can’t do with any
other models,” he says. “As for the XL4 – I really like the sound of that preamp; there’s a lot
going on onstage and I have to be able to do
things on the fly really fast, so from my perspec-
tive it’s the ideal desk.”
A similar reliance upon Midas analogue technology is evinced by the Pallas Theatre in Athens.
One of Athens’ few traditional theatres, the
Pallas is a gem in the middle of this vibrant city.
Built during the 1930s, the Pallas retains its art
deco splendor while having just been subjected
to a major overhaul. This has included the installation of Midas consoles and Klark Teknik signal
processing equipment throughout its three venues, supplied by Greek distributor Omikron
Control. The whole procedure was overseen by
Omikron’s sound system designer Vangelis
Petridis. The Pallas Theatre itself, a 1,500-capacity traditional auditorium, now boasts a Heritage
2000 at front of house, with Klark Teknik Square
ONE Dynamics, Square ONE EQ and a DN500
Plus dual compressor/limiter. The adjacent Aliki
Theatre has also been installed with a Midas
H2000 while the new console in the Mikro Pallas
is a Venice.
“It’s great to have the Heritage here, and I’m
very happy with it,” says Pallas Theatre front of
house engineer Kostos Michopoulos. “It is very
user friendly, has great preamps and EQ, and allows me to hear everything very clearly throughout the entire frequency range. I especially like
the choice of parametric EQ or shelving mode for
the high and low filters. I’ve used it for classical
performances with orchestras and the preamplification is fantastic. We have all sorts of events
here, from classic and modern theatre and music through to large corporate events, and the
H2000 adapts to all our uses of it very well. And,
of course, visiting sound engineers are very happy to see it’s a Midas.”
Michopoulos is also quick to praise his Klark
Teknik Square ONE Dynamics and EQ “They sound great; they are used a lot in combination with
the desk. The new system is very well tuned--as
is the actual building--but most people still want
to use this equaliser because they love the sound it produces. The Square ONE dynamics is our
main workhorse, and I find its compressor is particularly good for keyboards, bass, toms and kick
drums, while for vocals I use the KT DN500 compressor/limiter.” Among the first performances
at the Pallas have been jazz concerts by Stanley
Clarke, a French theatre festival with actors including Charlotte Rampling and Gerard
Depardieu, and an avant garde modern dance
choreographed by Dimitris Papaioannou, who
was behind the 2004 Olympics Opening
Ceremony.
17
I N STALLATION
STAZIONE BIRRA, ROME
COOL BEER, HOT SOUND
Classy program, tailor-made sound system – opening night at Rome's "Stazione Birra“ with world stars Hiram Bullock & "Nine Below Zero“
What may sound like an Italian pub turns out to
be one of the most fashionable live venues in
Rome: in Stazione Birra, international stars
come and go in a continuous stream. What was
once a steel warehouse now boasts a sound
system installed by Italian distributor Texim that
satisfies the very highest standards, with components from Electro-Voice, Midas and Klark
Teknik
The premiere of the new system was attended by the cream of the music industry, with the
outstanding guitarist Hiram Bullock and the
group Nine Below Zero turning in world-class
performances. However outstanding musicians
and world-class performances are not the exception but the rule at Stazione Birra, Rome's
new top venue.
Five days a week, the club serves up a varied
but invariably tasteful menu of live music: club
booker Dante Colavecchi, who assembles the
ingredients, has managed in the last few months
to lure Earth, Wind and Fire, Hot Tuna, TM
Stevens, Colosseum, Marillion, Dennis Chambers
and Albert Lee – a mouth-watering masala to
which each brought a unique flavour – to the
heart of Rome. This musical fare delighted connoisseurs of fine sounds in the Italian capital,
whether denizens or tourists there, to sample its
culinary and cultural delights.
To ensure that justice was not only done but
heard to be done to the performances of these
artists, Stazione Birra commissioned Texim to
supply a sound system of the highest quality, tuned (perfectly!) to the requirements of the venue.
To say they succeeded would be something of
an understatement. "What the artists who appear here appreciate is not just the fine acoustics
18
of the room but also the perfect sound system,"
says Dante Colavecchi. "Audiences benefit from
the great sound of the PA, but the sound on stage from the high-quality monitors is also exceptional, and it's this, of course, that inspires the
performers."
Together with local distributor Texim, the club
management opted for a PA system consisting
essentially of Electro-Voice 127+ tops and Xline
X subs, driven by amplifiers from EV's P series.
The individual components are governed by a
Klark Teknik DN 9848E controller. Plasma P1
speakers are responsible not only for the foldback (the onstage sound) but also for coverage
of the balcony and FOH position beneath. The
requirements of the FOH position were particularly difficult to satisfy, as it is in the acoustic
shadow of the projecting balcony, but the two powered Plasma P1 systems turned out to be the
perfect solution – as the succession of top-flight
sound engineers that have occupied the FOH position for the various visiting acts will attest.
Italian engineers are equally aware of the
Plasma P1's merits, and it's spotted with ever increasing frequency these days sharing a stage
or a studio with the country's finest musicians,
its principal strengths being high output, balanced sound and insusceptibility to feedback.
At both control positions in the Stazione Birra,
it's Midas that rules. The front-of-house console supplying the PA system is a Verona 480, whilst
the foldback signals are provided by a Siena 400.
Both the FOH and monitor consoles are complemented by Square One outboard equalizers from
Klark Teknik, with the classic DN 370 another key
link in the signal chain front of house. A selection of N/DYM microphones from Electro-Voice
complete a clean sweep for EVI Audio in this
prestige venue – where the beer, incidentally,
(as is only appropriate given the name) – is as
good (almost) as the sound!
Equipment supplied by Texim in Rome's
Stazione Birra
FOH and Main PA
12 x EV XLC 127+
4 x EV X-Sub
6 x EV P 2000
2 x EV P 3000
2 x KT DN 9848E
1 x KT DN 370
1 x MIDAS Verona 480
Monitors and Stage
10 x EV Plasma P1
1 x Midas Siena 400
6 x KT Square One Graphic
4 x EV N/DYM 468
4 x EV N/DYM 478
4 x EV N/DYM 767A
4 x EV N/DYM 967
1 x EV N/DYM 868
2 x EV RE 2 N7
Delay:
2 x EV Plasma P1
I N STALLATION
HARD ROCK CAFE, POLAND
GRAND OPENING WITH EV
The world famous Hard Rock Cafe celebrated
the opening of its first branch in Poland in
March. The Polish rock elite were in attendance to enjoy sound systems from Electro-Voice,
Midas and Klark Teknik
The live music and catering chain Hard Rock
Cafe (HRC) is one of the American entertainment
industry’s most successful exports. The concept
of combining live performances by top bands,
good food, a pleasant atmosphere and outstanding equipment has proven a recipe for global
success, and the first Hard Rock Cafe in
Poland—in Warsaw's Zlote Tarasy—looks set to
extend the tradition. The 500-seat venue opened
its doors to the public for the first time on the
March 10th, complete with a concert becoming
of the prestigious event: under the code name
TOKYO MIDTOWN, JAPAN
"Super Group,” the elite of Poland's rock musicians banded together to celebrate the occasion in style and give the Hard Rock Cafe's freshly installed sound system a baptism of fire into
the bargain! Fabian Ukleja of Electro-Voice's
Polish partner Audio Plus was responsible for
the installation: "Hard Rock Cafes are world famous for their outstanding club sound,” said
Ukleja, “—there’s a reason they’re constantly
picking up awards. That said, the bar was set
very high for us." But as the first night show—
along with performances by acts like Fishbone
and the Monday Rebels in the following
months—have proved, Audio Plus cleared it with
no difficulty, and the latest member of the HRC
family has no reason—other than youth—to be
in awe of its siblings: "We received the highest
praise," says Ukleja, "not only from the club's
management but also from the musicians. The
managers are delighted with the system’s reliability, sonic performance and general ease-ofuse. And they can't get over the fact that the
whole thing can be controlled from one laptop!"
The installation was complex: to obtain a perfectly balanced sonic image it was necessary to
tailor the design carefully to the topography of
the location by defining a total of seven separate sound reinforcement zones. Each of these,
has also to be controlled separately, which is
why the Audio Plus team installed a NetMax N8000
(as the main processor) and the Iris-Net software
platform on the club laptop from which all the devices and systems capable of being controlled remotely could be controlled.
MULTI-FUNCTION COMPLEX WITH SOPHISTICATED SOUND
Opened in March 2007 in Tokyo’s Roppongi
district, “Tokyo Midtown” is a complex of
commercial spaces, office buildings, convention halls, performance areas and conference
rooms, complete with a hotel and art museum.
A complete range of sound reinforcement products from Bosch Communications Systems
brands Electro-Voice, DYNACORD, MIDAS and
Klark Teknik were selected to meet the high
standards demanded by the Tokyo Midtown
Management, the result of a rigorous
three year R&D process involving the
Joho Dentatsu Institute, M&N Sound
Projects Inc. and Towa Engineering
Corporation.
“It’s far easier to design a premium system like this using high quality products from a single vendor, products that
work seamlessly together,” says Mr.
Kameguchi, General Manager, Tokyo
Midtown Hall and Conference Center.
“Our research process combined technical analysis with professional experience, ensuring we achieved an optimal balance of sound
quality, complete coverage and architecture-friendliness.”
The goal in the main conference hall, for example, was natural sound that didn’t draw attention to itself due to an obvious point source, while offering the power handling and intelligibility
of a concert-quality system. This was achieved
with a distribution of 74 ceiling–mounted EV ZX1i
loudspeakers, providing even coverage
across every inch of the space. Electro-Voice
N/D767a microphones provide warm vocal
response at the other end of the signal path.
A compact portable system inventory including six DYNACORD D-Lite systems, DYNACORD AM12 monitors, ten MIDAS Venice 160
mixing consoles and ten Klark Teknik Square
One Graphics is on hand when the main hall
is split up for various functions.
The commercial spaces in Tokyo Midtown,
along with the Galleria, meeting rooms and
Suntory Museum of Art, are equipped with
over 300 EV EVID C4.2 recessed ceiling loudspeakers, providing virtually invisible high
quality BGM sound reinforcement that is unmatched by other “low profile” systems. EV
ZX1i and DYNACORD D-Lite systems delivered compact concert-quality sound for the recent month-long “Midtown Garden Café”
open-air event program.
19
I N STALLATION
KRISTAL GLAM CLUB, BUCHAREST
The Kristal Glam Club in Bucharest isn't just
one of the best clubs in Eastern Europe; the
temple of dance and hedonistic delights is
now rated among the top locations on the
entire planet
The guys behind Bucharest's "Kristal Glam
Club" don't let the grass grow under their feet.
Top DJs like Sander Kleinenberg, Paul Van Dyk,
Sasha, Deep Dish and David Morales come
and go in a continuous stream, whilst events
like the "Sunwaves Festival" and "Amsterdam
VITENSENTER BERGEN, NORWAY
Audio company Bergen AV Teknikk AS recently equipped the Science Centre (or
"Vitensenter") in Bergen (Norway) with lighting,
sound and stage equipment, opting, after a
thorough analysis of the requirements, for loudspeakers from DYNACORD.
The centre, which opened on the 31st May,
offers visitors the opportunity to participate in a
variety of interactive experiments relating to nature, the environment and technology. They can,
for example, ride special bicycles to experience
centrifugal force, produce their own weather forecasts, or drill for oil.
These experiments take advantage of and are
designed to convey the current state of scientific knowledge. The lighting, sound and stage
equipment, too, represents the state of the art.
20
SOUND DELUXE
Sensation" have established
the club's reputation as a place where a great night out is
guaranteed. No wonder it's just
been voted Rumania's best
club for the fourth year running.
But that’s not all. In addition to
the variety of attractions and
visually striking interiors, a recently extended 20,000W DYNACORD alpha concept sound
system (originally installed at
the end of 2004) has helped
make the "Kristal Glam Club"
one of the finest discotheques
in the world. In fact, the 1,000-square-meter complex, which already occupies the 28th slot, is currently rocketing up the world rankings. The aweinspiring alpha system and spectacular attractions—including a state-of-the-art laser show
and no fewer than 17 video screens—invariably render the desired effect… so much so that
DJ Luciano, in a recent interview with the magazine DE BUG, went as far as to credit the club,
which can accommodate up to 1,500 guests at a
time, with leading the world-wide techno revival.
HSA Audio installed the following system in
the "Kristal Glam Club", Bucharest
4 alpha X1-90 Dynacord tops
2 alpha V1-90 Dynacord tops
8 alpha B3 Dynacord sub
6 Dynacord L2400
4 Dynacord L1000
2 DSP 244 Dynacord
1 Powermax 5 (monitors)
MANY REQUIREMENTS, ONE SYSTEM
For the auditorium of the Vitensenter–which is
mainly used for conferences, events, and lectures under the auspices of the University of
Bergen–the Rådal-based company installed a
2.1 stereo system, plus a central cluster reserved primarily for lectures. A team lead by MD
Kjartan N. Eikeland decided in favour of MX 8 and
MX 12 loudspeakers from Dynacord's Pi One series, whilst DYNACORD MT 115 subwoofers reinforce the low frequency reproduction.
The Vitensenter's cinemas--used for 3D projections, films and interactive visual experiments-are even more lavishly equipped. Here, after
conducting exhaustive tests using EASE 4.1 software, the specialists from AV-Teknikk opted for
a combination of Dynacord MX 12, MX 8 and MX
115 systems. "The client was quite specific ab-
out the requirements of the sound reinforcement
system," recounts Eikeland, "and the Pi One seemed predestined for the role." Even so, he was
surprised, when the installation was complete,
to discover quite how perfect the match was:
"We connected a system processor to apply the
finishing touches to the cinema installation prior to the commissioning, only to discover none
were necessary! The sound quality was outstanding right from the off--not just in the centre of
the auditorium but even in the most distant corners."
I N STALLATION
NATIONAL THEATER, BRATISLAVA
EV FOR SLOVAKIA’S NEW NATIONAL THEATRE
Meeting the highest international standards – the EV-equipped Slovakian National Theater in Bratislava
With three stages featuring the Electro-Voice
pro audio equipment, the new Slovakian
National Theatre in Bratislava meets the highest
international standards. EV's Slovakian partner, SBL Acoustics s.r.o., undertook the audio installation—including 200 EV speakers—with
support from local installation specialists
Proeling
The National Theatre's management hired
Bratislava-based sound company SBL Acoustics
s.r.o. to ensure the audio spec satisfied the highest standards. "One of the principal stipulations
for the sound systems was the provision of even
coverage throughout each auditorium,” says
Stanislav Lehen, Manager, SBL Acoustics s.r.o.
This standard request proved trickier than expected: "The architecture of the rooms posed a
number of problems," says Lehen. "They were
all very wide and open. To arrive at a homogeneous sound image, therefore, we had to come
up with something exceptional."
The theatre's technical specialists were unanimous in favoring Electro-Voice when it came
to selecting the sound equipment. "The brand
already enjoys an excellent reputation in
Slovakia," says Lehen. "But on top of that, EV was
quicker than all the other suppliers in coming up
with a viable concept, and that clearly impressed the people who made the decision."
And, as Stanislav Lehen will attest, it was not
a decision anyone in Slovakia's number one
theatre has regretted for an instant. The technical staff were impressed, too, not only with the
prompt and flawless support offered by EV staff
but also by their expertise. "Oliver Sahm, EVI
Audio's Project and Sales Manager, provided
us with outstanding technical support. His acoustic simulations were of crucial importance when
it came to deciding which systems to opt for. It
was thanks to his assistance that we were able
to identify what I feel represents the ideal sound
reinforcement concept for the theatre.”
The building of the new National Theatre in
Bratislava began back in 1984, but the ambitious
project had to be put on ice for many years due
to the changing political climate—23 years elapsed between the laying of the foundation stone
and the opening of its doors. For more information on the theatre’s furnishings and equipment
visit: www.snd.sk
Electro-Voice Equipment List
171 EV Xi, EV Rx and EV Eliminator series
speakers
21 x EV Xi1152 (main sound system)
6 x EV FRi2082 (sub-balcony sound system)
3x EV FRX+640
(main sound system - rear stage)
4 x EV X-sub (main sound system)
13 x EV QRx112 (main sound system)
14 x EV Sx100+ (monitor sound system)
8 x EV SxA250 (mobile sound system)
16 x EV Sx300 (mobile sound system)
42 x EV Sx80 (circle effect sound
reinforcement)
14 x EV Dx38 (controllers)
Plus additional EV speaker systems
for mobile use (e.g. Xf, Xb, QRx115/75,
QRx112/75, SxA100)
21
INSIDE
SIGN AUCTIONED OFF
PROLIGHT+SOUND 2007
COMPANY MAXI-MARATHON, MUNICH
ADEL ATTIA THE
WINNER
OUTSTANDING
PRODUCTS
BOSCH4SPEED
In the course of the EVI Audio Hausmesse, the
company's in-house trade fair, the 'DYNACORD'
sign that once graced the façade of the company's headquarters in Straubing was auctioned off.
The auction was won by Adel Attia, Managing
Director of EVI Audio's Egyptian partner Quality,
as auctioneer Mathias von Heydekampf intoned
the magic words "… going for the third time" and
the gavel fell on his bid of 1,500 euro. As promised, the entire sum was donated to St. Elisabeth's
Kindergarten in Straubing. The choice of St
Elisabeth's was in fact far from arbitrary, reveals EVI Audio Sales Manager Robert Hesse:
"Since we have many mothers working for the
company, we deliberately chose a kindergarten
with an integrated crèche. With this 1,500 euro,
we have made a small, but I hope significant,
contribution to its survival."
As in previous years, a great many awards were
presented for outstanding products – and, as in
previous years, many of those awards went to
EVI Audio, including the following:-
On the 19th July 2007, 165 runners from Bosch
and EVI Audio gathered at the start of Munich's
Maxi-Marathon beneath the banner "Bosch4Speed".
Cheered on by thousands of spectators, they,
along with some 24,000 other athletes, ran the
6.75 km from Coubertin Square in the center of
the city to the finish line in the Olympic Stadium,
where medals were awarded not only to the fastest runners but also to the most original team.
Here, the honors went to 15 trainees and students from the Bosch plant in Ottobrunn who ran
dressed as fire detectors – honors the team from
EVI Audio is already eyeing for next year.
MIPA Award:
MIDAS XL8 Live Performance System – "Best
Pro Audio Desk"
Tastenwelt: DYNACORD CMS 1600 – "Best
Mixer & Powered Mixer"
Soundcheck:
Electro-Voice ZX4 – "Best PA Speaker"
tools4music comparative test:
DYNACORD CL-1600 – "Best Power Amp in
terms of Performance and Value for money"
above: The Tastenwelt Product Award, won by the
DYNACORD CMS 1600, was accepted by Günter Gehlich,
Director Sales Germany
(l) top: "Going… going… gone to the gentleman on
my right" – the DYNACORD logo is auctioned off
(l) botton: Plant Manager Konrad Proyer (l.) and Vice
President Sales EMEA Robert Hesse (3rd from l.) present
kindergarten director Melanie Schindler (2nd from l.)
with a check for 1,500 euros. (Right) Dean Georg Birner.
22
"Bosch4speed“ – the team from EVI Audio (above) and
Bosch's prize-winning fire detectors (below) at Munich's
Maxi-Marathon
INSIDE
MIDAS CONSOLES HOLLAND
NEW FACTORY IN STRAUBING
BENELUX DISTRIBUTION DEAL
BUILDING COMPLETED
Midas Consoles Holland,
which was formed around
four years ago, has taken
over the distribution of
Midas and Klark Teknik products in the entire Benelux
region
A new subsidiary called
Midas Consoles Benelux
has been created, with branches in Zaventem (Belgium)
and in Apeldoom (NL) where the mother company is
based. According to Axel
Nagtegaal, Managing Director of both Midas Consoles
Holland and Midas Consoles
Benelux, the two companies
will work closely, but remain autonomous. "In the last few years, our focused distribution model has proved successful. Now, working in liaison
with the Midas and KT headquarters in the UK, we have set new targets,"
Axel told us. Also affiliated with Midas Consoles Benelux is the touring
support company Dryhire.eu, a well established events service provider
with an inventory that includes Klark Teknik signal processors, a variety
of analogue Midas consoles and the digital Midas XL8 Live Performance
System. Midas Consoles Benelux will be making its first public presentation at the Audiovisual Creative Fair 2007 in Brussels.
Work on the new production hall at the EVI Audio plant in Straubing
was completed successfully in September 2007
After a construction period of approximately 10 months the new
EVI Audio production hall with about 4,000 square meters was completed. 2,000 extra square meters are now available for supply and delivery, a new test
and demonstration
hall and for office
and
recreation
space.
DISTRIBUTOR OF THE YEAR
At the IBC 2007 on the 6th September, Polish TELEX/RTS distributor Audio
Plus was crowned "Distributor of the Year", in the view of Sales Manager
Nico Lewis, "among other things, because the team led by MD Krzysstof
Sokol does its utmost at all times to
satisfy customers" – a compliment
aimed primarily at Audio Plus's
Sebastian Pawlak.
Sebastian Pawlak (Audio Plus) and Nico
Lewis (Sales Manager, TELEX/RTS) at the
IBC
HOT STUFF:
BESTSELLER IN THE MERCHANDISING DEPARTMENT
It's in the bag…
… and one that's as sporty as it is elegant! Our new
Messenger Bag comes with a choice of DYNACORD or
EV logos. Masses of space and a variety of compartments for storing bits and bobs make this the perfect
accessory for out and about.
EV: D153217 / DC: D153216; Price 25 Euros each.
Let there be light…
… and there was light, or will be when all our stylish
and practical LED pocket torches have been snapped
up. At once pathfinder and beacon, this bijou of a luminaire comes with a choice of Dynacord or EV logos.
EV: D153218 / DC: D153219; Price 12 Euros each.
EV: 153218
DC: 153216
23
© 2007 EVI Audio GmbH · Subject to change without prior notice · Printed in Germany (F&W/Snapshot) · Order #D164610 09/07/3500
www.boschcommunications.com

newsflash - Dynacord

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