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 Resurrection Life Church in Grandville, Michigan continues to grow at a steady pace, as evidenced by a brand-new 200,000-square-foot worship campus facility offering several sound reinforcement systems that all feature a variety of EAW full-range loudspeakers.
In the new 4,200-seat worship center, where seating has a fan-shaped arrangement and is backed by a large balcony, the sound team elected to use EAW AX396 full-range coaxial loudspeakers in tandem with the main loudspeaker arrays to provide dedicated frontfill coverage.
 These loudspeakers are flown with special AX Series hardware developed by Polar Focus to facilitate maximum adjustment with minimal effort. A compact EAW MQ1364 full-range loudspeaker also mounted with the main loudspeakers serves to bolster reinforcement to seating areas at the far right of the room.
Above the balcony, mid-high presence is reinforced via more EAW AX396 loudspeakers positioned far up by the ceiling catwalks (pictured at left). This location renders them virtually invisible, with their output precisely time-delayed with that of the main loudspeakers.
 In addition, the rear half of the seating rows under the balcony, shadowed from main loudspeaker coverage, receive mid-high reinforcement from a dozen EAW UB82 low-profile loudspeakers. These are mounted in “slots” cut into the balcony ceiling to further minimize their impact on sightlines. (shown at right)
The Communications Division of Parkway Electric of Holland, Michigan, handled the installation of the A/V systems in the sprawling, multifaceted facility, which is headlined by the worship center hosting contemporary services. Parkway worked closely with Cliff Rosenberg, technical director for the church, as well as Dallas-based A/V design firm Acoustic Dimensions, in implementing the numerous systems within a tight timeframe.
This project is a real testament to the depth of the EAW loudspeaker line,” notes Parkway Electric Sales & Marketing Director Gary Zandstra. “Regardless of the situation, invariably it seems that they’ve got at least one, if not more, loudspeaker models with the right coverage capability and cabinet footprint capable of fulfilling the needs of a particular application.”
The new campus also includes a separate chapel as well as a dedicated rehearsal facility for the church’s choir groups. Both of these rooms are served by EAW MK2394 compact two-way loudspeakers as well as EAW NTS22 dual-12-inch-loaded subwoofers.
 In the chapel (shown at left), four MK2394 loudspeakers are mounted in their horizontal cabinet position above the platform, where they blanket the room with solid front-to-back and side-to-side full-range mono coverage. Meanwhile, for the choir rehearsal room, two MK2394 loudspeakers are positioned vertically left and right.
Each of these systems offers enhanced low-end with the addition of two NTS22 subwoofers posted discretely on the floor. And, both systems are also outfitted with two EAW SM200 stage wedges to meet all monitoring needs.
 EAW Online Forums are a great resource for specific information about "everything EAW" as well as a valuable place to get tips, guidance and "how to" advice.
This week, an EAW user wants to know if there will be a huge difference in sound if uses Crown MacroTech 5002VLZ or a QSC Audio RMX5050 amplifier with his EAW KF850 full-range loudspeakers. Click here to find out what the community says.
 The Maxine Theater, a new 580-seat performing arts center located in Valley Center, California, offers a high-end sound reinforcement system, designed and installed by Quiet Voice Audio, that features EAW AX Series loudspeakers, SB Series subwoofers, as well as MX8750 and DX8 digital processors.
“There weren't any corners cut on this project,” notes Jon Bart, president of Quiet Voice Audio. “It was envisioned not only as a community theater, but as a destination for top concert artists and traveling theatrical productions. This is reflected in the sound design as well as the acoustics of the space.” (John is pictured above, flanked by David Henk and Barry DeHart, also of Quiet Voice Audio.)
The theater’s performance hall offers a classic “keystone” design; with non-parallel side walls, a curving back wall, as well as graded floor and ceiling. The single level room fans out from the large stage at the front, and all seats are padded.
The sound system design process commenced with a thorough investigation of the site, followed by extensive EASE modeling to help define the best possible loudspeaker locations and angling. Complicating matters, though, were California’s strict earthquake codes, which strictly limited loudspeaker location options.
“The less-than-optimal array locations meant that the dispersion of the loudspeakers was a critical issue,” Bart explains. “Given the desired performance of the system, we also needed loudspeakers that would support our sound pressure level criteria, and, they needed to be pretty much bulletproof, able to withstand being overdriven by amateur operators. All of these factors led us to the EAW AX Series.”
Complete coverage throughout the room is provided by two arrays, each comprised of dual AX364 full-range loudspeakers flown side by side. These three-way loudspeakers, offering a 60-degree by 45-degree coverage pattern, are located at stage left and right, about 30 feet above the floor.
 The AX Series, designed specifically for fixed installation applications, incorporate a unique coaxial design that has the mid-frequency cone and high-frequency compression drivers sharing a neodymium magnet and directly coupled to a single horn. These horns include a refined version of the company’s patented Radial Phase Plug design known as Concentric Summation Array (CSA) technology, which brings the loudspeakers performance, several steps closer to the mathematical “ideal” of a single point source. The net result is a smooth frequency response, consistent polar patterns over a wide operating bandwidth, and greatly enhanced vocal clarity.
Flown about 10 feet behind each array, and bolstering the low-end output provided by the full-range loudspeakers, are EAW SB250zP subwoofers, each featuring dual 15-inch cone drivers in a vented cabinet. For events requiring even more horsepower, dual EAW SBX220 subwoofers, complete with casters, can be rolled on stage, directly beneath the flown array/sub complements on each side.
The full-range portion of the output equation can be further bolstered with the additional of EAW JFX560i compact two-way loudspeakers, which can be placed atop each SBX220 subwoofer. These JFX560i loudspeakers can be easily angled inward to provide side-fill coverage to the stage, or even positioned on their sides and placed anywhere on stage to serve as floor monitors.
An EAW MX8750 digital signal processor is mounted backstage with the system power amplifiers. Quiet Voice Audio began with EAW’s recommended AX Series settings, and then slightly tailored them especially for the Maxine Theater during the tuning and optimization process.
To further meet the ease of system use goal, Quiet Voice utilized two rack-mounted EAW Commercial DX8 digital processors, which provide easy access to pre-programmed, onboard memory presets. “The DX8’s are applied to the most commonly used microphone channels, and have optimized settings saved as ‘digital snapshots’ that can be easily recalled,” Bart explains. “If just a mic or a few mics are needed for spoken word presentations, all it takes is someone to turn on the system, call up the snapshots, and the mics are good to go.”
The system tuning process was accomplished through careful ear evaluation, with additional verification courtesy of SmaartLive.
 AudioSpectrum of Boston recently provided a total “in the round” concert sound reinforcement system featuring EAW KF Series line arrays for a Christian revival that attracted thousands to Madison Square Garden in New York. (AudioSpectrum Owner Rafael Jaimes is shown in the photo at left with one of the revival sound engineers.)
Held over the course of three days at the “World’s Most Famous Arena,” the revival was led by Reverend Dr. Jaerock Lee of the Manmin Joong-ang Church of Seoul, South Korea. The program, also broadcast to a worldwide audience in four languages, included messages by the Rev. Dr. Lee and other pastors as well as contributions by a 20-plus-member praise band
 AudioSpectrum, headed by Rafael Jaimes and one of the larger sound companies serving the Northeastern U.S., began system preparations for the revival several months in advance. The stage would be positioned at one “end” of the arena floor, with AudioSpectrum responsible for insuring delivering 360 degrees of full-range coverage to all seating levels.
Over the past several years, the company has acquired an impressive inventory of EAW KF Series loudspeakers to serve the needs of bigger-scale events. For this project, Jaimes chose to utilize EAW KF760 and KF761 large line arrays flown front, side and rear above the stage.
“What we like about the EAW approach with line arrays is that it presents that deep true-concert signature that’s consistent with their other live large-format systems,” Jaimes explains. “It’s big, it’s present and there’s that certain musical depth, while vocal intelligibility remains a solid constant.”
 The front-firing line arrays were each made up of 12 KF760 line array modules and two KF761 wide dispersion modules at the bottom that reduced the need for extensive fill loudspeakers closer to the stage. Dual “front-side” arrays flanking the mains were each made up of four KF760 and four KF761 modules, while “rear-side” arrays, covering a nearer field and wider area, included two KF760’s atop four KF761’s. And, the entire rear seating section could be handled with just four KF761 modules.
AudioSpectrum used the EAW KF760 Wizard software program to help determine array structures and also to calculate each array’s dimensions, weight and center of gravity. SIA Smaart-Live proved instrumental in evaluating and optimizing overall coverage as well as that in the critical zones between the arrays, and it was also utilized throughout every session of the revival to insure the system remained consistent.
Stage-fill coverage was supplied by four EAW KF850 full-range loudspeakers flown left and right in pairs from truss, firing downward, while the large band’s monitoring needs were met with 14 EAW SM84 compact wedges. Four of the company’s SM200 wedges were also supplied for all people speaking.
“It was very gratifying to walk the arena several times during the proceedings, experiencing the tight, clean coverage and noting that the attendees were able to clearly hear everything being presented,” Jaimes concludes.
 "I bought a pair of NT29's about six weeks ago. The best way I can describe the sound is: INCREDIBLE!! It's not marketing hype when EAW professes how flat these speakers are." So says one of the many audio professionals commenting on NT Series loudspeakers in the Pro Sound Web Product Review Forum.
Here's another: "Just to look at these cabinets they scream quality, & believe me, after dropping all that loot & narrowly escaping a divorce - I sat there & stared at them for a long time before I even turned them on!!" Click here to go directly to the review of the NT Series.
 Had time to try SmaartLive Version 6 yet? It includes a host of new features and a reworked architecture that allows Smaart to run native under both Mac OS X and Windows from the same unified source code.
In addition to it's improved cross-platform functionality, SmaartLive v6 also offers a streamlined user interface and more advanced feature set for Smaart 6—incorporating feedback collected from over a decade of input from the largest user base in the industry. As a result, the improved user environment enables users to dive deeper into the power of software while preserving the renowned usability of previous Smaart versions. Click here to sign up as a SmaartLive v6 Beta user!
 Design/build firm John Lyons Systems recently announced the completion of a custom sound installation – featuring EAW Avalon Series club loudspeakers - at the newly opened JET Nightclub at the Mirage Hotel in Las Vegas.
Within a modest 15,000 square foot space, JET features state-of-the-art entertainment technology in each of its three distinct rooms that play hip hop, rock and house music. Unique to the project is the Avalon DCX loudspeaker, a hybrid custom product built to John Lyons’ specification by EAW.
Lyons worked with EAW’s engineering and product development teams to produce the DCX, a box that incorporates EAW’s AX Series CSA technology as well as sonic elements from the Avalon series DC1 and DC2 loudspeakers. The DCX also offers a new enclosure shape and grill design made specifically for Lyons and JET.
A total of six DCX boxes run alongside the dance floor complemented by a total of eight EAW Avalon DCS2 subwoofers built into soffits, each arranged in banks of four on each side of the dance floor.
Off the dance floor, 36 EAW custom JL12 custom 12-inch coaxial ceiling speakers are installed over the two bar areas in the main room and used as the main PA in both side rooms. The main room’s DJ booth uses two Avalon DC4s and an EAW SB250 subwoofer for the monitor system, as well as a new Mackie d.2 DJ mixer.
An unlikely combination, one might think, but one that is nevertheless finding great success as guitar legend Mark Knopfler and US country diva Emmylou Harris wend their dreamy way across Europe and North America with their collaborative album, All the Roadrunning.
Knopfler, as demanding as ever in his choice of supplier and equipment for his live sound requirements, turned to the company, and with it the loudspeaker brand, he has relied on since the beginning of his solo career; that is Luton-based Concert Sound and EAW.
Concert Sound's Andy Davies confirmed that Knopfler has been an EAW aficionado since his debut as a solo artist some 10 years ago. "Back then we were using what was at the time THE industry standard touring rig; that is to say a KF850/853 system. Three years ago, after many years of long and tireless service, we replaced it with the KF760 line array, which performs fabulously well.
"For my money, there isn't a better system on the market in terms of audio clarity and consistency over long distances," he continues. " We only ever need to use delays in really huge stadium like venues. For an arena tour like this, they are simply not necessary. We're getting detailed high end and powerful bass with smooth, uniform coverage all the way to the back of the arena with our standard PA set up."
What Davies refers to as the standard PA comprises two hangs on each side of the stage (a main and a sidehang), each consisting of KF760 with KF761 at the bottom of the curve for smooth nearfield coverage. Certain venues, such as London's Wembley Arena, merit an additional rear KF750/755 hang for truly optimal coverage.
Up to 16 groundstacked SB1000 subs handle the low end requirements while extreme front fill is handled by a distributed mono system of EAW KF730 compact line array cabinets. These have proved to be a superb low profile, high output stage lip system. The entire system is driven by Lab.gruppen fp6400s with XTA processing throughout.
"It's a proven formula that continues to deliver excellent results and that everybody is comfortable with," concludes Davies. "We put it up, we set it up and off we go what more do you want!"
 EAW Online Forums are a great resource for specific information about "everything EAW" as well as a valuable place to get tips, guidance and "how to" advice.
This week, an EAW user wants to know if a dbx DriveRack PA processor would work optimally with his KF850e and SB850 rig. Click here to find out the recommendations of the tech guys and other users!
 South London-based rental company Universal Groove has just invested in a 24-box EAW KF730 compact line array system to add to its inventory, which already includes eighteen stacks of KF850 and a number of mixing consoles from different manufacturers.
Universal Groove's Steve Curtis explains that while Universal Groove can cater for events of any size, the majority of the company's work falls in the mid-range market, hence the desire for a smaller, more compact system than KF850. "Although the KF850 is a very scaleable system, we were doing more and more events of up to a couple of thousand people so I decided that it would be good to have a more compact, lightweight system in the inventory as well. KF730 fit the bill perfectly."
"It's an incredibly powerful box for the size of the enclosure," continues Curtis. "In fact, we were blown away by how loud it was, yet at the same time, the sonic clarity is superb. You can hear absolutely everything in the mix; all the instruments are there and the vocals remain pure. Many of my regular clients who are used to seeing KF850 were very skeptical when they saw us setting up KF730 - they just didn't believe that such a tiny system would be capable of delivering enough SPL, but once we turned it on, no further persuasion was needed!"
Curtis also points out that there are considerable benefits to be had in terms of system handling and transport in that the KF730 system packs into a fraction of the space of its big brother, therefore reducing considerably on freight costs, and is light enough that one person can fly the system and break it down on his own if necessary.
"I've also noticed that get-in times are getting tighter and tighter, especially for smaller events or shows on a budget," observes Curtis, "so operating with a smaller, lighter system like KF730 which is inevitably much quicker to set up, is a definite stress-reliever for us! I'm delighted to have KF730 as part of my inventory. It has opened up lots of possibilities for us as a rental company and gives me even greater flexibility to respond to my customers' demands."
 EAW NT Series loudspeakers have been nominated for a prestigious TEC Award in the Sound Reinforcement Loudspeaker Technology category. This shouldn’t come as a surprise, with the Gunness Focusing Technology at the heart of the NT Series representing a true breakthrough in powered loudspeaker design.
Note that a special TEC Awards Voter’s Guide and voting ballot will appear in the August issue of Mix magazine, with the TEC Awards ceremony to be held Saturday, October 7, at the Hilton San Francisco in tandem with the AES Convention. 
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