resources to retain a designer and typically rely on a local music store to help them select the gear and attempt to do the installation themselves,” says Sager. Simultaneously, owners sometimes “don’t budget enough to get all the bells and whistles they want, with the majority of them cutting back on the sound system while overspending on lights and smoke machines.”
2. HEARING PROTECTION AND TARGETED COVERAGE Bohl is among those to suggest that more attention needs to be given in clubland to the topic of visitor protection. “A high-quality speaker system which is perfectly tuned, adapted to the human ear and free of distortion will be well-received by the guests,” she says. “A premium sound system should leave visitors free of any hearing loss or other problems after a night in a club.” In general, there is a feeling that
providing precisely targeted coverage – in the words of Baird, delivering “high-quality sound at appropriate levels where it’s wanted and not spilling into areas where it isn’t” – will remain the subject of further refinement. Deepening understanding of club layout and speaker placement will be beneficial; for example, says Baird, “it’s better to have speakers facing away from a bar than on a wall opposite pointing directly at the bar staff”.
FEATURE: CLUBS, BARS, RESTAURANTS As RCF market manager Antonio
Ferrari remarks: “There is still room to improve acoustic comfort, control, audio distribution and installation approach.” But in this regard, RCF and the others could hardly be accused of resting on their laurels, bringing to market a steady stream of new product: Electro-Voice with its restaurant- and lounge-friendly EVID loudspeakers; JBL with its Marquis Dance Club Series, drawing on its experience “during the disco days of the ’70s and ’80s”; Fohhn with its PS-9 subwoofer and FIAD technology; Martin Audio with three new Class D amplifiers (MA2.0, MA3.0 and MA2.8Q); Tannoy with the club-friendly VX and VXP loudspeakers; RCF with its new Media Series mid-power speakers; and so on. As Wakelin observes: “Nobody likes to see quality equipment badly implemented.” With in-venue audio likely to undergo evolution rather than revolution at this point, it is probable that the greatest leaps forward are now to be made with regard to design, specification, project management and – above all – integration.
www.allen-heath.com www.electrovoice.com www.fohhn.com www.jblpro.com www.martin-audio.com www.meyersound.com www.rcf.it www.tannoy.com www.tcgroup.tc
ALLEN & HEATH GLD MIXERS BRING CONSISTENCY TO TWO SINGAPORE VENUES
Sindo Exports, Allen & Heath’s Indonesia distributor, recently supplied Allen & Heath GLD digital systems to two venues, including the Cleopatra karaoke-theme nightclub (pictured). A venue that also plays host to a
nightly light show and live singers, Cleopatra’s audio spec now pairs QSC Audio speakers with a GLD system. The GLD-80 digital console has been extended by adding an AR84 expander I/O rack with eight XLR inputs and four XLR outputs, connected via the dSNAKE Cat5 protocol to the AR2412 I/O rack on stage.
“I hadn’t used a GLD console before
www.installation-international.com
but I am very impressed,” says technical engineering manager Sulaiman Satriadi Simatupang. “The GLD-80 comes with everything – there’s no need to start ordering extra hardware or software as everything you need is there.” Live music venue Wala Wala,
meanwhile, features another GLD-80, this time in conjunction with a KV2 Audio speaker system. The new configuration addresses a long- standing sound issue at the venue, which has also lately appointed a dedicated audio engineer in place of letting bands mix themselves.
October 2013 39
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