FEATURE: AUDITORIUMS


digital technology – and the much smaller footprint and considerably greater capabilities of digital – means the initial investment for a sophisticated audio system is much less than with analogue.” It’s not all good news, of course: fluctuations in the level of touring activity over the past couple of years have led to more days in the dark and, not surprisingly, some tightening of belts. But console makers continue to report good levels of demand, as do intercom suppliers [see Clear-Com box, right], whose case to market has been emboldened by the requirements of increasingly complex productions.


COUNT ON US


An uncertain outlook does mean, however, that venues are thinking more carefully than ever before they commit to new spend. As regards consoles, that generally translates to a desire to accommodate increased channel counts and more powerful recording capabilities. Above all, there needs to be a recognition of new demands – both seen and unseen. James Gordon, managing


director of DiGiCo – whose SD series has racked up significant installations worldwide – confirms: “Installations increasingly have to think further into the


(Multichannel Audio Digital Interface) is a case in point. Originally developed in the early 1990s, MADI is anything but new technology, but its proven reliability and high channel count capability have seen it enjoy a surge in popularity of late. Gordon notes: “MADI would


‘Installations need to make sure with a console that they are


investing in a future-proofed solution’


James Gordon, DiGiCo


future as they are having to predict how venues and spaces are going to be used in the next 10 years. These demands have changed greatly in the past decade, with increased demands on channel counts and, more importantly, bus outputs. They are very aware of this and want to see how systems can be expanded and evolve.” Demand for the MADI communications protocol


not have been a high demand 10 years ago, but today it is an important solution. It is the standard for recording and connecting digital systems. This means installations need to make sure with a console that they are investing in a future- proofed solution.” It’s a trend that, admits


Gordon, “has really helped DiGiCo because we have a proven track record for our consoles being given additional features and flexibility over time. The SD series’ FPGA [processing] heart means it can be adapted in a way that is simply not possible with old DSP designs. The latest versions of software this year prove that, with almost all consoles getting an increase in every key area; in the case of the SD9, its channel count went up by 20% and its FX processing by 100%.” Flexibility of control,


meanwhile, has turned out to be a significant asset for Allen & Heath, whose iLive series allows an independent mixer to be deployed in conjunction with a variety of


INTERCOMS: GREATER CAPACITY IS THE NAME OF THE GAME


The US and Europe continue to register the most existing installations and highest rate of new business for wired and wireless communications specialist Clear-Com, but Asia is becoming more pivotal with “an increasing number of newly built or completely overhauled performance spaces. This is made possible by a vast supply of


consumers with the means to provide high-quality entertainment,” says Judy Cheng, director of marketing, Clear-Com.


Although analogue partyline systems “which provide a basic set-up that is easy to deploy and intuitive to use” remain the company’s most popular solutions into small/mid-sized auditoriums, Cheng acknowledges that “as production sizes increase, communications requirements will change. For example, more individualised lines of communications are required for certain groups, which increase the amount of cabling and power needed to run the systems.” Products developed by Clear-Com to cater to these requirements include HelixNet Partyline – which provides up to four channels of comms, as well as programme audio and power for up to 20 beltpacks, on a


The North Carolina Shakespeare Festival and its affiliate, Festival Stage of Winston- Salem, are utilising a Clear-Com HME DX210 digital wireless intercom to co-ordinate productions


single standard microphone cable – and the Tempest2400 wireless intercom system. Operating in the 2.4GHz band, Tempest2400 is available in a two- or four-channel system for indoor, outdoor and touring applications. Peering into the future, Cheng envisages audio-over- IP continuing to boost flexibility: “IP-based intercoms add greater flexibility, capacity and bandwidth, and reduce the need for cabling, saving both time and money. These solutions are also designed to easily recognise other products on the network and require a minimal amount of configuration, adding even greater time efficiency.”


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60