Chicago ’ s Museum of Contemporary Art has purchased and installed two new DiGiCo S21 audio mixing consoles .
Consulting and purchase were provided by Second City Sound & Communications , and integrated by SCS ’ s Gerry Formicola and Brad Galvin , working with the MCA Production team . The pair of S21 consoles now reside in the museum ’ s Edlis Neeson Theater . The desks are each paired with a DMI-Dante card for networking , plus three DiGiCo A168 stage boxes also connected via Dante . One console now serves as the front-of-house desk for the Neeson Theater and is further fitted with a DMI-AMM ( Automatic Mic Mixing ) card . The second console is situated in the theater ’ s audio / video control room where it ’ s used to mix streams of the events and presentations originating in the venue and can also be called upon for monitor mixing work when needed .
Richmond Hill , ONbased Cosmo Pro was approached by Richmond Hill Christian Community Church ( RHCCC ), which wanted to update its entire sound system and infrastructure while keeping the existing main speakers , a few of which needed repairs . The existing components were grade-A when installed over a decade ago by a respected company , but in the last several years , amplifiers and DSPs were failing at an unacceptable rate while parts and support were becoming hard to come by and costly .
Cosmo Pro reached out to Paolo Bizzaro from SFM ’ s Technical Applications Group who was paramount from the early design stages , and Arthur Skudra of Sightsound Consulting for DSP programming and system commissioning . The solution included Allen & Heath ’ s flagship dLive S7000 console with DM48 MixRack to replace an aging Yamaha PM5D console , QSC ’ s Q-SYS Core 510i DSP with various Flex modules and cards , a 21-in . high stack of QSC Q-SYS CX-QN Series amplifiers that replaced two whole tall racks of aging amps , and implementation of a new Dante network to replace the existing CobraNet infrastructure .
Luxembourg ’ s multi-purpose Rockhal concert hall has installed an Adamson IS-Series loudspeaker system in its Club Hall . Renovations were initially stalled by the pandemic , but the new system DAN was + SHAY first used for a series of ‘ Because Music Matters ’ shows , during which it was deployed in a 360-degree configuration around a central stage .
Though it was initially specified for a more straightforward left / right hang , the Adamson loudspeaker rig not only provided the necessary flexibility for unusually challenging circumstances , but garnered praise from those in attendance . “ It was powerful , precise , and pleasant-sounding ,” Rockhal ’ s Head of Audio , Franck Chainais noted when discussing the implementation of the IS-Series system at the time .“ One got the impression of being one metre away from the speakers even when they were 15 metres away .”
Eventually , Rockhal was able to complete the renovation , a project that upped the room ’ s capacity from 1,200 to 1,600 with the addition of a balcony and allowed the venue to deploy the Adamson rig in the more conventional layout they ’ d originally envisioned .
62 PROFESSIONAL SOUND
Ed Sheeran ’ s two late-April shows at Dublin ’ s Croke Park Stadium marked the global premiere of Meyer Sound ’ s new Panther largeformat linear line array loudspeaker . Supplied by U . K . -based Major Tom , Ltd . and suspended from mast and cable net rigging , the system was anchored by 212 Panther loudspeakers . The Dublin shows also were the first anywhere to deploy a Milan protocol AVB network from FOH mix all the way to the loudspeaker cabinets .
Production Director and FOH Engineer Chris Marsh emphasized that the sound clarity went beyond simply a fan ’ s ability to understand Sheeran ’ s lyrics . “ Clarity is usually thought of in terms of the high-end , of sibilants and diction , but Panther was also very tight in the low-mids — something you tend not to get when that far away . Everything was present and clear , including subtle nuances like reverb tails , which are often lost at distance .”
The system deployed 14 hangs of Panther arrays in two rings . The six inner arrays each comprised 10 of the “ L ” long-throw versions and two of the “ M ” main versions . The eight outer arrays comprised 10 “ L ” versions , two “ M ” versions , and two “ W ” wide-coverage versions . The three horn dispersion configurations enable system designers to tailor coverage for uniform levels and frequency response at various distances . Controlled deep bass was supplied by six flown arrays of 1100-LFC low-frequency control elements configured in gradient arrays of 10 each . A total of 20 Leopard loudspeakers were set around the circular stage as front fill , with stage bass supplied by six stacks of three 1100-LFC elements in gradient arrays .