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"That was then. This is EAW." Jeffrey Cox was definitely not understating the matter when he introduced the professional sound world to EAW's latest landmark innovation at the recent ET Live in Las Vegas: the application of revolutionary Gunness Focusing technology to KF Series line arrays. Hundreds flocked to the EAW stage for the twice-daily demonstrations, and they weren't disappointed. (In fact, there was a substantial number of return visitors who probably couldn't quite believe what they heard the first time around.)
"I think that the improvements claimed by the engineering department in the performance of the KF760/730 Series were very clearly demonstrated in the real world. I was personally impressed by the naturalness, clarity, and detail in the rig," states veteran FOH Engineer Paul Dieter, noted for his work with Jackson Browne in concert, among others, who was on hand to provide the live mix. (Each demonstration included a live performance by classic rock band Yellow Brick Road, also drawing rave reviews.)
 Premium components in the EAW system included two main line arrays made up of eight KF760 elements over four KF730 compact elements - all integrated under the new Gunness Focusing processing set. (Also note that this was the initial public showing of new rigging that allows KF730's to be flown seamlessly beneath KF760 arrays.)
The "Focused" line arrays were joined by eight new SB1000zF flyable subwoofers per side as well as several BH760 "Super Subs" lining the front of the stage. (One of the KF760/730 line array combos with the new SB1000zF flying subs is picture at left.)
On hand at the proceedings were key members of the EAW team, including the aforementioned Mr. Cox as well as Bernie Broderick, Howard Burke, Steve Kawasaki, Jamie Anderson, Rich Frembes, Dave Raneses, Scott Pizzo and Karen Anderson, who deserves kudos of the highest order as stage manager, organizer and everything in between. (Oh, and some guy claiming his name as "Dave Gunness" wandered by... Frankly, we considered calling security but ultimately decided he was harmless.)
 Rather than continuing with our own hyperbole, let's hear from a few of the folks in attendance:
"That was the most impressive demo we've ever heard. We were thrilled by the shear size of the rig, the band playing through it, and most of all, the sound of a Gunness Focused line array." - Al Simetz, Triamp Group
"I have to say, and I am not in the minority, that the presentation at ET Live/LDI was absolutely first rate. Top notch, done right. EAW made the most definitive statement to the touring industry I have witnessed. The stage looked great, the rig looked better, and the sound was quite impressive... When a fine speaker rig is properly assembled, flown, powered, and processed, the results are, well, exactly what we heard. Congratulations to everybody who had a part in it. EAW really had it together for this, and looked and sounded great both on an absolute and relative level." - John Saviano, Quest Marketing
 "Any engineer who looked at my console and the overall analog system EQ could see that there was next to no corrective EQ applied by me across the system and my channel EQs were right where I would expect them to be for any given input. It's the closest thing to a nice big set of studio monitors I've ever used. Congratulations, you've really got something here. I haven't had that much fun mixing in a very long time, and everyone from EAW is a joy to work with. I'll look forward to any opportunity I get to use this new generation of EAW products."
- Paul Dieter
More of the "scene" at ET Live, clockwise from top/left image - Bernie Broderick and Paul Dieter backstage; David Hatmaker, in charge of sound for all live performance venues at Disneyland, talking with that "Dave Gunness" guy; Jamie Anderson and Curtis Flatt of Spectrum Sound at the mix position; Jeffrey Cox catching up with Alan Geer.
 Professional system integrators Sonic Art, LLC just commissioned a dynamic new sound reinforcement system – headed by EAW MQH Series full-range loudspeakers - for the worship sanctuary of First Evangelical Covenant Church in Rockford, Illinois.
Sonic Art, based in Oshkosh, Wisconsin and headed by Jeff Lange, specializes in developing audio, video and lighting systems for houses of worship. Lange, supported by company general manager Brian Christ, served as a trainer for church operators and tech staffs before expanding his scope to also offer system design/build services.
Earlier this year, Sonic Art was invited to present ideas regarding an ongoing system project for the sanctuary, which was built in the 1960s. With the church hosting weekly back-to-back services in both traditional and contemporary formats, the new sound system needed to address the unique needs of both worship styles.
 The single-level, 900-seat sanctuary offers an unusual design, to say the least. Most notable is a ceiling that forms a high-reaching pyramid, stretching at its apex to a height of 60 feet above the floor. It creates the potential for serious reflections of audio energy to bounce around the space. The challenging acoustic environment is aided, however, by padded seating and carpeted aisles throughout the room.
The loudspeaker evaluation process led to investigation of EAW MQ Series of large-format installation array loudspeakers. Based upon subsequent discussions with Joe Fustolo of the EAW Application Support Group (ASG), Lange selected an MQ Series variation, the MQH, as the loudspeaker model that would comprise a single array to be flown above the platform and provide coverage to the entire room.
 MQH Series loudspeakers are expressly designed to solve difficulties in larger venues, providing unique down-angled coverage by using specially designed asymmetrical mid-frequency and high-frequency horns, with the enclosures vertically configured for arraying in horizontal rows to optimize coverage in wide, fan-shaped audience spaces.
“Adding it all up – the diverse service styles, the highly reflective nature of the room and strict aesthetic concerns – resulted in the MQH loudspeakers being an ideal choice to meet the needs of this project,” Lange explains. “A really attractive aspect of these loudspeakers is that the tight pattern control extends all the way down to 200 Hz – a life-saver in a situation where you need full-range performance throughout a reverberant space.” (Jeff is pictured above at the church mix position.)
The single array is made up of four MQH1344e loudspeakers, each providing 40-degree by 40-degree asymmetrical (down-angle) dispersion. Supplied in optional white cabinets to match the aesthetics at the platform, all four are arranged in a tightly packed formation.
 Because of the unconventional layout of the room, the transition zones between adjacent loudspeakers couldn’t be confined to the aisles. Instead, transition occurs in the midst of the seating sections, but according the Lange, this has not proven to be a detriment. “Much to our delight, we found there is very little - if any - interaction between the boxes. Coverage is seamless. You really can’t audibly discern the transition points where one box hands coverage over to its neighboring box,” he notes.
The MQH Series loudspeakers also solved another problem – no subwoofers allowed in this system. With a dual-15-inch-woofer low-frequency section, solid bass response down to about 40 Hz (10 dB down point) can be attained, again, with tight control attained down to the 200 Hz point. “The double 15’s generate plenty of low-end energy. Obviously, subs could make the lows even bigger, but that wasn’t an option on this project,” Lange says. “At the outset, another one of our goals was for this system to accommodate touring Christian rock groups, and the LF section of the MQH boxes has led to realizing this goal.”
 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.
A user recently logged in to ask advice on reconing a pair of used EAW FR153 loudspeakers he's considering for purchase. Joe Fustolo of the EAW Application Support Group (ASG) replied with salient points regarding reconing, and he also cleared up an additional question regarding properly powering these loudspeakers. Click here to go directly to this forum thread.
 Lincoln University's brand new multipurpose venue, the £6 million Engine Shed (so called because that's precisely what it was) opened to great acclaim in September with an inaugural performance from huge UK Indie band Embrace. In addition to housing the Student Union bar and offices, the Engine Shed is also the newest and biggest student venue in the East Midlands.
A venue of this calibre clearly demanded a high quality professional audio system, and so technical systems specialists Stage Electrics were called in to supply and install a complete entertainment system that included a comprehensive EAW loudspeaker system throughout.
According to EAW systems application specialist Steve Badham, the key criterion for the audio installation was flexibility. Comprising three bars and two performance spaces of 750 capacity (1500 capacity when combined) as well as shops and cafés, there were a number of areas to be taken into consideration. The main FoH system is a powerful KF850 rig comprising two KF850zF cabinets and two SB850zR subs per side with an LA215 stage monitoring system. The secondary system, which may act as a stand-alone rig if the room is being used separately, or as a delay to the main system if the whole space is required, comprises two EAW AX344 three-way full range loudspeakers with an additional SB850zR sub per side.
"We understood from the outset that high quality and high power went without saying," explained Badham. "When you've got a line-up that consists of bands like Embrace, The Zutons, The Charlatans, Cooper Temple Clause and The Beautiful South in the next three months alone, you're talking straight away about a full professional live system, which explains our decision to go for the industry-standard KF850 as the primary rig. It provides a real 'live' feel to the music, and it's bombproof, which is a very important factor in a Student Union environment!"
“However, we also had to bear in mind that this system had to be flexible both in terms of configuration and purpose,” continued Badham “We therefore decided on the EAW AX Series for the secondary system. AX is specifically designed to deliver high-fidelity audio for both live music, as well as playback – a DJ, for instance. Using a combination of KF850 and the AX Series allowed us to offer the best of both worlds, either separately or in conjunction with one another."
System requirements didn’t stop there, however. Engine Shed also features a mezzanine bar with a capacity of 250, that required an audio system that could be incorporated into the main system on a delay, or act independently. Here Stage Electrics opted to install one UB52, two MK5394 cabinets and one SB250zR sub per side. "The MK5394 is ideally suited for this sort of work," commented Stage Electrics' Davie Bell. "It's a compact installation loudspeaker that is designed to act as the main PA for smaller venues, or for distribution or fill purposes in larger venues, so perfect for what we wanted."
Processing throughout the venue is handled by a total of four EAW MX8750 digital processors with a BSS Soundweb for matrixing.
The live element catered for, Stage Electrics looked to the EAW Commercial portfolio to handle sound reinforcement in the other bars throughout the building. The main entrance atrium bar is furnished with a foreground music system comprising six VR62 high definition two-way loudspeaker cabinets and four VR61 cabinets which are supplemented by two FR250z subs for low frequency reinforcement. Two further Sky TV/Sports bars upstairs are equipped with a total of 10 CIS400 ceiling speakers and three SB48z subwoofers.
"There's no doubt that the Engine Shed is a magnificent venue," concluded EAW's UK sales manager, Moray McMillin. Indeed, a BBC journalist has already rated it 'world-class,' noting that the developers have retained a lot of the original Victorian brickwork, including the arches, from the old engine sheds and combined it with a modern glass and steel frontage with spectacular results. "Architecturally speaking, it's a huge success, so it was up to us to ensure that the audio installation met, if not exceeded the high standards required by the client. We particularly had to ensure that we created a flexible, multipurpose and multivenue system that is easy to configure and does not compromise on audio quality. Thanks to the impressive range of product available within the EAW portfolio and the application of a certain amount of grey matter, Steve, I and the boys at Stage Electrics were able to come up with a system that is perfectly suited to the task."
 If you have the opportunity, be sure not to miss ET Live in Las Vegas later this week (Friday, Saturday and Sunday), where EAW will be presenting the debut of Gunness Focusing applied to a KF760/KF730 line array concert sound reinforcement rig. Held in conjunction with the 2006 LDI Show, ET Live is an outdoor event that presents a great way to see (and hear) live demos in a real-world performance stage environment, and you'll be able to hear the dramatic difference that application of Gunness Focusing can have with existing EAW loudspeaker designs.
Premium components in the EAW system includes two main line arrays made up of eight KF760 elements over four KF730 compact elements. These will be joined by eight new SB1000zF flyable subwoofers per side as well as four BH760 subs stacked per side.
This main system will be augmented by four KF730 front fills located at 12- to 15-foot intervals along the downstage edge, along with two NT59 loudspeakers (located one each on down stage corners for side fill) and six NTS22 subs at center stage (used for center sub fill). And of course, new Smaart v6 will be used to tune the system and for analysis during the event.
ET Live is available to all LDI attendees. Each stage will start off their demonstration by playing the same pre-recorded track and then feature a live performance in a round-robin format at 25-minute intervals. The featured band at the EAW stage is classic rockers Yellow Brick Road, a Las Vegas favorite.
Remember: Gunness Focusing, ET Live, Las Vegas, Friday-Sunday. Send questions to keith.b.clark@comcast.net. Hope to see you there!
 Iron Maiden is out on the "A Matter Of Life Or Death" concert tour and EAW is there as well, in the form of a house sound system headlined by KF760 and KF761 line arrays joined by SB1000 subwoofers and KF750 loudspeakers. SM200 wedges also grace the Iron Maiden stage.
ML Executives of the U.K. is the sound company for the tour, and for the ongoing U.S. leg, they've provided the house control and monitoring system while Brantley Sound of Nashville is supplying the house sound system featuring EAW. The tour kicked off in Europe, followed by the current dates in the U.S. before moving along soon to Japan and then returning to Europe, ending with two shows at London's Earls Court in late December. We'll have more coverage of the system and sound team soon, and click here for the full tour itinerary.
EAW just finished up a very successful AES Convention 2006 in San Francisco, debuting some cool new products as well as catching up with long-time and recent friends. Above we see monolithic signage (it wasn't hard to find us!), along with a CSA display, Bernie Broderick with David Patridge of Audio Atelier, a logo for new Smaart v6, a TEC Award-nominated NT Series loudspeaker in the booth, the marquee for nightclub Ruby Skye (site of an exclusive system tech tour) and Graeme Stevenson of Production Audio Services talking with Jeffrey Cox.
 New EAW Smaart Version 6 (v6) sound system measurement and analysis software features a comprehensive re-write of its underlying architecture that dramatically enhances multi-tasking, in addition to a new streamlined interface for simpler operation and for the first time ever, full compatibility with Macintosh OS X in addition to Windows XP.
Specifically, Smaart v6 is a Universal application designed to take full advantage of the performance increases delivered by the new Intel-based Macs. Further, it is now built from a unified cross-platform source base with near-complete parity between both Mac OS X and Windows versions, in addition to working with Core Audio and ASIO drivers.
Besides the numerous advantages of cross-compatibility, another bonus is that current Smaart users preferring to switch to the Mac version need only to pay the standard upgrade fee for Smaart v6. And, for the firs time ever, Smaart v6 will be available as a “boxed” retail version through authorized dealers.
“Smaart will now benefit from the power of the latest microprocessors and multitasking operating systems in both Mac and Windows environments, with the biggest upside being that now Smaart users can make their own choice about which environment they prefer,” states Jamie Anderson, EAW touring product manager. “This has been achieved while building upon the renowned usability of previous Smaart versions realized in the course of more than 10 years of experience and input from the largest user base in the pro audio industry.”
Smaart v6 also offers a new streamlined interface designed to be significantly simpler to operate, and it also offers a comprehensive rewrite of its underlying architecture that allows it to do more things at once, such as simultaneous RTA and Frequency Response measurements.
Further Smaart v6 upgrades:
New Real-Time Measurement Mode
Smaart v6 combines its previously separate Spectrum and Transfer Function measurement modes into one versatile Real-Time mode. Real-Time measurement mode now allows a user to view any two of these measurements simultaneously:
• Two-channel RTA: Selectable linear or fractional octave banding (1/24th octave), peak-hold, THD calculation, user-defined timed averaging, and standard Noise Criterion curves (when calibrated for SPL measurement);
• Single-channel Spectrograph: 3-D display of a signal's spectral content over time helps identify feedback frequencies, system resonances and mechanical noise.
• Frequency Response (Transfer Function) Magnitude & Coherence: up to 1/24th octave resolution measurements of system magnitude response with comprehensive RMS and Vector averaging functionality, and a corresponding Coherence measurement indicating data quality / stability.
• Frequency Response (Transfer Function) Phase: 1/24th octave (or greater) resolution measurements of system phase response.
Enhanced Impulse Response Mode
In Smaart v6, Impulse Response Mode now operates in its own window that runs independently of real-time Spectrum and Transfer Function measurements.
Smaart v6's Impulse Response Mode has also been expanded to include intuitive tools for analyzing and dissecting IR measurements on the fly. These tools include a new 3-D Spectrogram view that provides a powerful hybrid of Time and Frequency domain views of a system response measurement, and a user-specified time window function for retrieving frequency domain data from specific portions of an impulse response.
Increased Data Storage and Display Capacity
Smaart v6's increased data capacity can store and display a near unlimited number of Frequency Response and RTA traces. Moreover, all captured measurements are now stored directly to file on the hard drive to prevent accidental loss due to power failures or other interruptions.
Support for Multi-Channel Input Devices
Smaart v6 can receive multi-channel inputs via ASIO under Windows or Core Audio on Mac OS X, enabling selection of measurement signals from a multi-channel device within Smaart.
Expanded Signal Generator Functionality
Smaart v6 adds triggered swept sine waves for impulse response measurements to its standard list of generator signals and functions. The triggered swept sine functionality operates with the FFT length-specific, synchronized measurement sources, and enables user to do traditional laboratory/QC measurements.
 New dates for the EAW "Brains, Boxes & Beyond" (B3) Technical Tour have just been announced. Each seminar session runs for a full day and offers diverse audio coursework in a live lab setting. Two subjects covered in-depth include point-source theory and line-array theory, as well as various mechanical, acoustic and operational topics. Attendees utilize full-scale EAW systems to evaluate and further refine the points being presented.
Just released upcoming 2006 dates for B3 sessions:
Oct. 30 - Chicago
Oct. 31 - Milwaukee
Nov. 3 - Minneapolis
Nov. 13 - Long Island City
Nov. 14 - Mount Vernon, NY
Nov. 16 - Atlantic City
Dec. 4 - Raleigh
Dec. 6 - Charlotte
Dec. 8 - Atlanta
Dec. 11 - Nashville
Get in touch with your EAW rep if you're interested in attending a session. And, click here for more info on the B3 Tour.
 The new 1,600-seat Fine Arts Auditorium at East Kentwood High School in Michigan ranks with any performance space in the U.S. in terms of acoustics and sound quality, featuring a system headed by EAW KF730 compact line arrays in left-center-right configuration, accompanied by SB730P flown subwoofers.
The system was specified by Acoustics By Design, a noted acoustical and system consulting firm based in nearby Grand Rapids, Michigan, with Tim Hamilton taking the point on the project - a complete renovation of an original facility that opened in 1969.
 Hamilton worked closely with Rick Westers, a veteran of more than 20 years in teaching production at the school in addition to serving as a free-lance sound engineer. After a great deal of discussion, Hamilton and Westers decided a line array approach would be appropriate for the space, which hosts a busy schedule of national concert and theatrical tours in addition to serving school production needs and functioning as a learning environment for students. (Westers and Hamilton are pictured at left.)
"I've always been a big EAW fan in general, and really like the sound quality and coverage provided by the KF760 line arrays," Westers notes. "But they would be a bit too much for this room, so I was thrilled when the KF730 was introduced. Following a live, working demo of KF730's for a gig I mixed at Michigan International Speedway, I knew the 730's were something very special."
This is the first experience he's had with the SB730 subwoofers, and he's impressed. Dual SB730 subs are mounted at the catwalk level adjacent to the left and right KF730 arrays. "I'm pleased. While I always love the double-18 power of the (EAW) SB1000's, these subs are perfect for this application, doing a great job while being up off the floor and out of the way."
 Hamilton performed EASE modeling as part of the system configuration process. The KF730's are able to provide complete full-range coverage from the front row to the back, without need for additional delay loudspeakers that can overcomplicate systems of this nature, while also adding cost.
"There's definitely no need for delay with this system," Hamilton notes. "That's one of the big advantages of a premium line array system like the KF730, where you're guaranteed solid, tight coverage throughout a room of this size and overall large volume."
"There's probably only a dB or two of difference in levels provided by the system from the front seats all the way back," Westers adds.
 After more than two decades of working with subpar equipment in an older room, Westers is more than pleased with both the new facility and it's high-end sound reinforcment system, which also includes a couple of EAW SM109z compact stage wedges that can be deployed when needed.
"This system fits the essense of exactly what is needed for every production that appears on this stage," he concludes. "The sound quality, fidelity and coverage are at the highest capacity, and the system is very well designed now and for the future."
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