The intensive audio systems project at the new Guthrie Theater in Minneapolis is the featured cover story in the September '07 issue of Live Sound International (LSI) magazine. The article detailing the systems is presented over 11 pages, and it's interesting reading, with all systems in the A-list venue featuring EAW line arrays and loudspeakers.

Click here for a detailed audio tour of the Guthrie Theater.

Posted by EAW at 01:50 PM | Permalink

“Smaart has been one of our best investments as a sound company - we call it 'audio for our eyes'. And new Smaart v.6 is even better. The 'Repeat' feature is great for obtaining polarity information, saving a lot of headaches. Easily storing snapshots of frequency response is another invaluable feature, allowing us to conveniently keep all of our inventory 'in check' from show to show, year after year.”

Brent Milton
Owner, Pacific West Sound
Bakersfield, CA

Posted by EAW at 01:33 PM | Permalink

The following instructional article was graciously provided by Jeff Lange, who heads up Sonic Art LLC, based in Oshkosh, WI, a firm specializing in the development of audio, video and lighting systems for houses of worship. Our thanks to Jeff (pictured at left) for the article and photos.

The design of a new sound system for the sanctuary of The Pentecostals of the Fox Cities in Menasha, WI, was particularly challenging. This 500-seat auditorium has a 12-foot ceiling, dictating loudspeakers that are very compact in order to not detract from the room’s aesthetics.

To meet this requirement, we chose EAW MK8100 Series loudspeakers, with six of these cabinets flown in their horizontal cabinet position (with horns rotated), carefully placed in a distributed, decentralized arrangement. (Shown in the photo at right.)

Largely due to compact design of these loudspeakers, frequency response doesn't extend much below 90 Hz. Therefore, we also needed subwoofers to reinforce frequencies beneath the 90 Hz point to meet a stated design goal of providing a system offering true full-range capabilities.

Finding a location for the subwoofers in this sanctuary proved to be a challenge. Placed on the platform, they would tend to distract the musicians and singers while flooding the area with feedback-inducing LF energy. And the ceiling was far too low to consider flying them.

Fortunately, the construction of a sound isolation drum booth on the platform necessitated extending the platform outward. We seized this opportunity, deciding to put the subs under the platform extension.

Of course, this direction presented its own set of challenges. The platform height would be a tight 24 inches, leaving much less than that to realistically work with. Evaluating possible solutions, we chose a pair of EAW SBX220 subwoofers that are only 18 inches tall while capable of handling the 5000 watts we wanted to deliver to them.

The next challenge: Isolating the LF energy from the platform. If the subs aren’t properly isolated, the entire space under the platform could tend to act as a “resonation chamber” that causes uneven frequency response and feedback.

Working with a Mark McLernon, a skilled carpenter from the church, we constructed an isolation box. This box effectively isolates the low frequencies from the platform via two chambers - the platform extension is isolated from the existing platform, and the subwoofers are isolated from the extension.

The subwoofer “inner chamber” is constructed of wood and fastened tightly together with glue and screws to prevent rattles and buzzes. All seams are caulked air-tight, furthering isolation properties. The “outer chamber” – the airspace between the inner chamber and the platform - is isolated from the platform by using wood and concrete board. The space between the inner and outer chambers is hard-packed with insulation. Once the insulation is installed, two layers of plywood close the top.

The end result has been as predicted – flat and very smooth low frequency presentation, with output that keeps up with the high impact (pun intended) of the church’s youth services.

Again, thanks much to Jeff for this report. Click here to read about another innovative Sonic Art LLC project.

Posted by EAW at 02:24 PM | Permalink

The September '07 issue of
Front Of House (FOH) Magazine includes a "Road Test" review of new EAW Smaart v.6 filed by Mark Amundson, the publication's technical editor.

Mr. Amundson concisely spells out his favorite features on v.6, and doesn't find much fault. At the outset, he poses the apt question, "Why upgrade?" and then proceeds to inform readers in very clear terms about the numerous advantages, in his view, of v.6.

We thank FOH magazine and Editor Bill Evans for publishing the piece, and also thanks to Mark Amundson for taking the time to check out Smaart v.6 and share his observations. Click here to read the review.

Posted by EAW at 12:52 PM | Permalink

Creative Events, a leading sound reinforcement company serving the Middle East, recently added EAW UX8800 digital processors with Gunness Focusing technology, as well as EAW KF760 Series and KF730 Series line arrays, to its growing inventory of top-flight professional audio equipment.

Creative Events is one of several companies of Creative Communication Group (CCG), a thriving full-service event management and production venture based in Qatar. Under the direction of Managing Partner Jalal Dudin (shown in photo above), Creative Events provides sound reinforcement systems and services to numerous high-profile concerts, theatrical productions, festivals and other events held throughout the Middle East.

For example, a notable Creative Events project was supplying all audio, video and technical support at more than 110 sports venues during the 2006 Doha Asian Games. In addition, they’ve supported first-time concert tours in the Middle East by performers such as Lionel Richie, Jose Carreras and the late Luciano Pavarotti, among many.

“After extensive research and consultancy from our experts in the events business, we decided not to waste our time or money with any brands other than EAW for our audio supply,” states Jalal Dudin. “EAW is a worldwide technological leader in the design and manufacture of high-performance professional loudspeaker systems.”

Creative Events is a member of ELAN (EAW Line Array Network), a valuable association network provided by the company that allows members to promote their inventories as well as secure additional EAW inventory when needed. The UX8800 and KF Series line arrays join other EAW components utilized by Creative Events, including SB Series subwoofers, LA Series loudspeakers, SM Series stage monitors and more.

Posted by EAW at 06:57 AM | Permalink

Last weekend (September 15, to be exact), Mexico celebrated its national independence day, and our friends at Consorcio Audiovisa S.A de C.V. of Mexico City were on hand to provide EAW KF730 Series line arrays as the primary components of a sound reinforcement system for a civic ceremony in Tlalnepantla, one of the most important cities in the state of Mexico.

More than 15,000 converged on Tlalnepantla's Plaza Cívica Dr. Gustavo Baz for the ceremony, which featured remarks by the city president as well as a host of traditional festivities. To provide coverage throughout the plaza, Consorcio Audiovisa, a member of ELAN and owned by Alex and José Luis Morales, supplied 24 KF730 modules as well as 16 EAW SB1000z subwoofers as the key aspects of the system, backed by full technical support.

All of these EAW loudspeakers were divided evenly into four groundstacked sets of six line array modules and four subwoofers, spaced equidistantly across the front of the plaza.

They were the exclusive source for all spoken-word presentations, and were also used to significantly bolster coverage for various musical performances, including Mariachi bands.

"Sound pressure levels generated by our system measured 105 dB at 60 meters," notes Alex Morales. "Overall, the results were amazing, with perfect coverage to every zone in the plaza."

Posted by EAW at 06:20 AM | Permalink

We're very pleased to welcome Andy Jordan as the newest member of the EAW Application Support Group (ASG) team, headed by ASG Manager Joe Fustolo.

Andy brings 10-plus years of working with EAW Engineering in hands-on loudspeaker design to his new role with ASG. Specifically, he flourished as the Technical Services Coordinator, responsible for leading a group of technicians in carrying out a variety of tasks in building and facilitating the overall documentation and testing of BTO and standard EAW products.

"We're confident that Andy's vast working knowledge of the engineering process and the internal workings of virtually all EAW loudspeakers is going to make him a highly valuable asset of ASG, allowing us to take another important step in further being able to assist and troubleshoot customer issues with even greater accuracy and efficiency," Joe explains.

The addition of Andy now means the ASG team includes four sound system designers, three phone technical support specialists, and a special projects coordinator.

Posted by EAW at 01:05 PM | Permalink

Eastern Acoustic Works (EAW) is pleased to announce that it will be the exclusive manufacturer and distributor of the renowned MicroWedge Series of stage monitor products under the terms of a new agreement between LOUD Technologies Inc. and MicroWedge developer Rat Sound Systems Inc. of Oxnard, CA.

The Perpetual License agreement between the two entities calls for current products to be branded “EAW MicroWedge,” fully supported by the resources of EAW. Further, Rat Sound Founder Dave “Rat” Levine, creator of MicroWedge and other acclaimed sound reinforcement designs, will be working closely with the EAW Engineering Department on the development of new MicroWedge models as well as other EAW touring products.

“In securing this preeminent floor monitor line for our worldwide customer base, EAW is once again demonstrating its commitment to true performance audio by bringing the best in both design and talent to the EAW brand,” explains Jeffrey Cox, Vice President of the EAW Brand Group, shown in the above photo with Dave Rat. “We continually populate the EAW family and brand relationships with experienced, talented visionaries who combine their unique skills to push audio forward. Our partnership with Dave is a prime example of this philosophy.”

MicroWedge is noted as the choice of hundreds of discerning performers and has earned widespread touring rider acceptance. The highly respected product line has been cultivated over Dave Rat’s decades of audio industry experience, a process enhanced because he also heads up Rat Sound Systems, a leading concert touring company noted for its work with U.S. and world tours by the Red Hot Chili Peppers, Pearl Jam, Foo Fighters and dozens of other top-line artists. In addition, the company is the primary sound vendor for Coachella, one of the largest music festivals in the U.S.

As a result of this experience, Dave Rat is uniquely qualified to develop products directly with sound engineers at a grassroots level, and even more specifically, for the critical ears of monitor engineers. Consequently, MicroWedge is a product line developed to meet the wants and needs of working sound professionals, rather than products created in a vacuum and pushed into the marketplace. (A MicroWedge 8 is shown at right.)

“As a system designer, sound engineer and president of a sound rental company, I have considerable exposure to the needs of the artists, audio engineers, sound vendors and the realities of design challenges. I feel like I am an adapter between what the artist/engineers seek and the technical engineers,” notes Dave Rat. “I speak both languages and am comfortable moving in the worlds of both design/development and usage/execution. That is one of the key things I hope to bring to the table for EAW and for our future product development relationship.”

The result of several years of research, the MicroWedge Series was inspired by the seemingly obvious oversights and lack of addressing key issues in commercially available stage monitor designs. Tenants of the approach include a smooth, clear and consistent response with exceptional gain before feedback in a compact, coaxial design offering high power handling and processor enhanced - rather than processor dependant - “plug and play” operation.

“Over the past 27 years, I’ve devoted a tremendous amount of effort to designing and building innovative products for real world, live performance audio, and this is exemplified by the MicroWedge Series,” Dave Rat adds. “The new partnership with EAW is an exciting step towards realizing the product the way I have always envisioned it. The brilliance of the people, the culture of the company and the knowledge and desire to push audio to it’s highest level that is evident at EAW makes working with them a dream come true. I am excited as this alliance will allow MicroWedge and other designs that I have been working on for many years to finally come to fruition.”

Posted by EAW at 01:38 PM | Permalink

Be sure to check out the cover story of the September '07 issue of InAVate magazine for the full story and great photos on a recent system project at a new large-scale stadium in Europe featuring a wide range of EAW and EAW Commercial loudspeakers.

Click here to go directly to the on-line edition of InAVate, and then click on the article noted in the table of contents that begins on page 38. The publication, with Chris Fitzsimmons serving as editor, does a fine job of covering AV technology, systems and applications, certainly exemplified by the September 07 cover story.

Posted by EAW at 12:35 PM | Permalink

Last week (September 9), Stock Audio & Light provided a high-end sound reinforcement system featuring dual EAW UX8800 digital processors in tandem with KF760 Series line arrays for a memorial concert by the Limburg Symphony Orchestra that marked the liberation of the Netherlands in World War II.

The concert, held on the grounds of the American Battle Cemetery and Memorial in Margraten, the Netherlands, was highlighted by a performance of Verdi’s Requiem, accompanied by the Vocal Collective, a 60-member choir from Belgium.

Stock Audio, based in Geleen, the Netherlands, worked with the concert’s front-of-house engineer, Jo Smeets, to assemble a system providing enough headroom to reach a coverage area spanning beyond 150 meters (approximately 500 feet), while also capable of presenting a very natural sonic signature.

The sound team responded with a main system featuring dual line arrays, each comprised of six EAW KF760 modules above two KF761 wide-dispersion modules, flown stage left and right.

Low-frequencies were reinforced with eight EAW LA400 subwoofers with bent horn technology, groundstacked in groups of four beneath the main arrays. All loudspeakers were driven with LabGruppen fp6400 power amplifiers, with a DiGiCo D1 serving as house console and a Midas XL4 for monitors, largely for pre-mixing string instruments.

Holland PA, EAW’s distributor for the region, supplied two EAW UX8800 digital processors with Gunness Focusing for evaluation with this system. During soundcheck the day prior to the concert, Stock Audio Owner Paul Pelen immediately noted the significant upgrade in sonic performance provided by the UX8800 units, and in fact, decided on the spot to purchase them.

During both rehearsals and the concert, FOH Engineer Smeets, who’s primary focus is studio mixing, concurred with Pelen’s assessment. “This live system was like mixing in a studio, with all of the instruments sounding exactly the same as they do in my control room,” he states.

Guido Olischläger of Olischläger Soundengineering, Beek, the Netherlands, was also on hand to provide expert system technician services. He notes that “the main EQ wasn't used, and on the mixing channels, only the gain knobs and high-pass filter were used. In fact, very few channels had something done with EQ.

“With the system providing coverage out over 150 meters, it was great to provide the entire audience with a balanced mix and sonic presentation,” Olischläger concludes. (A big thank you to Guido for the details of this report, and also for the fine photos. More of his photos of the event are presented below.)

Posted by EAW at 11:13 AM | Permalink

Located on the western bank of the Mississippi River in downtown Minneapolis, the new Guthrie Theater is “a 21st century dream factory,” according to Time magazine. Primary performance spaces include the 1,100-seat Wurtele Thrust Stage, 700-seat McGuire Proscenium Stage and 250-seat Dowling Studio Stage, all supporting classic, modern and experimental productions in addition to live music concerts.

Resident Sound Designer/Supervisor Scott Edwards and Master Sound Technician Ross Anderson thoroughly embraced the opportunity to develop the entire facility’s audio constitution, supported by theater sound department staff companions Reid Rejsa, Paul Estby, Ryan Healey, and Montana Johnson, all working closely with technical and production personnel.

TALASKE of Chicago assisted with audio system and acoustical designs, the latter facet bolstered by Kahle Acoustics of Brussels, Belgium. Installation duties were awarded to local system integrator Electronic Design Company.

What resulted is a completely seamless building-wide audio and control infrastructure that ties all components and systems together as one in a manner beyond compare – in North America, at least. Further, in the case of the Wurtele and McGuire stages, the audio components and acoustics are meticulously integrated with their rooms, resulting in electronic sound reinforcement working so cohesively that the sonic signature is the very definition of natural.

In evaluating loudspeakers for both of these spaces, Edwards and Anderson wanted a true real-world approach in the form of live demonstrations of every viable component, and within the Guthrie environment. Not only were these demos live, but they also were held in a true “blind listening test” format involving a number informed theater personnel.

”We made these tests as blind as possible, so no one would know what they were hearing and therefore could not have any preconceived notions or prejudices impacting their opinion,” Edwards explains. “We even invited people from the community to participate in this process. After getting their votes, we asked everyone what product brand they thought they had chosen as ‘best,’ and it was fun seeing their reactions when informed of the brand they’d actually chosen.

“This process was really an eye-opener,” he continues. “Sound is so subjective, and there’s so much psychology involved, that it’s vital to try to make your judgments as objectively as possible. Sometimes you can’t articulate why you like something better than something else, but that’s indeed the way it works. And the interesting thing is that we all generally ended up agreeing on what we liked. Taking the subjectivity out of the process was great, and it really validates our decisions.”

The demo process provided additional insight. The small line array tests, in particular, featured some manufacturers refusing to participate, with others wanting to try to get around the spirit of the idea by providing inordinately elaborate (“tweaked up”) rigs.

“Some of them thought we were setting up this process to dovetail to our own preconceived notions, when nothing could be further from that,” Edwards says. “In fact, we were doing everything possible to remove those notions in order to do the most honest evaluations that we could devise. And, we allowed each participant to have a qualified tech on site to make sure the products were indeed being run correctly. The ironic thing is that the rigs that were tweaked up the most fared least well.

Besides the objective results, this process was also invaluable in providing insight into what kind of future relationship the Guthrie team could expect from these companies, he further states, adding, “Would there be open, honest dialog, or would there be problems? We value the manufacturers we work with as colleagues, to discuss current and future developments, to provide our input, and to receive their input.”

EAW emerged from this process in a highly positive light, and as a result, a wide range of EAW loudspeakers are utilized for both the Wurtele and McGuire stages. “We developed a very strong connection with EAW as a result of this process, and since that time, they’ve been great about staying in touch with us, asking if we have any problems and finding ways to be of help,” Anderson says.

Loudspeakers abound in the Wurtele stage, with EAW KF730 compact line arrays (seven modules per side) and companion SB730 subwoofers (four per side) flown stage left and right at the proscenium. These generally are utilized for music programming and for effects, while other loudspeakers formed into a central cluster provide main spoken word vocals.

EAW JF60z compact loudspeakers provide underbalcony reinforcement, and these can also be repositioned to provide surround when desired for certain productions. EAW UB82e compact, low-profile loudspeakers mounted within the acoustical panel structure over the balcony bolster coverage to the furthest seats. All of these loudspeakers are time-aligned with respect to the cluster.

The McGuire offers a left-center-right loudspeaker approach, with KF730 line arrays (seven modules per array) flown above the wide proscenium. Low frequencies are provided by flown arrays of SB730 subwoofers (four per array), and these a pretty much concealed from view by draping that drops from the ceiling.

Single EAW KF300z compact three-way loudspeakers flown at the bottom of each sub array provide fill to the extreme side/front audience areas. Several ultra-compact EAW UB12Se loudspeakers mounted in cut-outs on the face of the stage reinforce the first rows while also helping to “anchor” vocals more tightly to the stage. Coverage to the rear of the balcony is enhanced with three EAW JFX290i compact two-way loudspeakers, delayed in relation to the main arrays.

All of these loudspeakers are driven by Lab.gruppen C Series power amplifiers. Designed specifically for fixed installations, these four- and eight-channel units also offer network monitoring and control via the company’s proprietary NomadLink and DeviceControl software.

Also on hand as a shared resource for the performance spaces are six EAW SM200iH stage monitors, four EAW KF300z full-range loudspeakers and two subwoofers. These come in handy in filling a variety of needs; for example, to provide additional effects from backstage if wanted.

The backbone of all audio systems in the Guthrie is a Nexus system from Germany-based Stage Tec. The Nexus system is a TDM (Time Division Multiplex) providing centralized audio routing and conversion, facility-wide audio distribution over fiber-optic interconnects, as well as a data backbone for system management. The Nexus system also incorporates Base-device frames tied into the Guthrie’s two Stage Tec Aurus digital consoles that provide hundreds of inputs and outputs for routing or format conversion.

“We’ve certainly got all of the tools necessary to provide world-class audio quality, and the entire team deserves full credit in making our dreams into a reality,” Edwards concludes. “And that reality is a venue providing unlimited creative possibilities, where you don’t have to think about ways of doing something or getting around challenges – just plug in, and it works.”

(All photos accompanying this report by Keith Clark. Check out the September '07 issue of Live Sound magazine for an even more comprehensive look at audio for the Guthrie Theater.)

Posted by EAW at 07:59 AM | Permalink

New England-based SPL (Sound Plus Lighting) Systems recently added dual EAW UX8800 digital processors with Gunness Focusing, as well as 12 EAW KF730 small line array modules, to its live system inventory.

Based in Agawam, Massachusetts and headed by Bill Forbes, SPL Systems has been providing full production services for corporate events, fairs, festivals, and to event promoters throughout New England for more than a decade. The company also performs top-notch system installation and integration services. (Photo credit to SPL Systems for use of the photo at right.)

The UX8800 and KF730 line arrays join numerous other EAW models in the SPL Systems stable, including KF850z, LA400, UB2199-WP, FR129z, and JF80z.

Posted by EAW at 02:05 PM | Permalink

Two major college football stadiums are starting the season in style with new sound reinforcement systems that both incorporate EAW KF900 Series high-output loudspeakers capable of delivering solid, tight, full-range coverage from scoreboard locations.

Further, one of the systems - recently implemented by All Pro Sound at Auburn University's 87,450-seat Jordan-Hare Stadium - features processing via six EAW UX8800 digital processors.

One UX8800 is connected by Ethernet, and one receives the analog audio feed, with both control and audio passed among the six processors via EAW U-Net. The KF900 Series cluster serving the stadium includes six KF930F, 12 KF920F, and 6 KF910F modules.

Meanwhlile, at brand-new 45,000-seat Bright House Networks Stadium on the campus of the University of Central Florida, SPL Integrated Systems has implemented a loudspeaker approach of 10 KF920F, four KF910F, four KF914F and two KF913F, joined by six BH2313 and four KF755 for near fill.

More about both of these exciting projects will be presented here soon.

Posted by EAW at 12:25 PM | Permalink

A recent sound system upgrade project at the sanctuary of Evangel Assembly of God Church of Bismarck, North Dakota by Tricorne Audio of Fargo provides much-needed performance quality to support music/drama productions, and it also eliminates troublesome dead spots and poor intelligibility presented by the previous system.

Working closely with Brian Hanson and the church sound/music team, Tricorne Audio designed and installed the new system featuring a variety of EAW installation full-range loudspeakers, including three biamplified AX Series loudspeakers flown left-center-right to cover the entire main floor. Three MK2300 Series loudspeakers bolster output to the balcony that runs the length of the sanctuary's back wall, while four EAW Commercial VR61 loudspeakers with transformers handle the shadowed underbalcony.

Tricorne Audio's Dallas Anderson notes that the original system serving the 900-capacity sanctuary, interestingly, was divided into two parts. Two large loudspeakers in a center cluster were dedicated to "music" reinforcement, while horns and bass cabinets in the same cluster were designated for "speech" applications.

In addition to the EAW loudspeakers, Tricorne Audio also specified and integrated premium digital signal processing and power amplification components within the new system. They resourcefully utilized existing microphone jacks, wireless mics, outboard gear and the 40-channel mixing console.

The new monitor system serving the front platform includes an EAW Commercial VR21 loudspeaker flown for the choir as well as four traditional mixes provided via EAW Commerical VRM12 monitors ("Which they really like," notes Anderson). A personal mixing system with six remote mixers is also available.

"The end result is quite nice. We have very even coverage, excellent gain before feedback and a system that can truly handle full contemporary concerts, intimate theatre productions, and, of course, daily worship activities," Anderson concludes.

Posted by EAW at 01:51 PM | Permalink

"The promoter and band were so impressed with the sound that from this point on, they won't use another vendor." - Rafael Jaimes, Audiospectrum

It was sound in the round at its finest in New York's Madison Square Garden, where Audiospectrum recently provided a full 360 degrees of audio reinforcement for a concert by Dominican Republic band Aventura, presenting their unique blend of bachata, hip hop, r&b, and reggaeton for a sold-out crowd of more than 17,000. The show is in support of the wildly popular band's fifth album, KOB Live.

Headed by Rafael Jaimes, Boston-based Audiospectrum is frequently tapped to provide sound reinforcement for concerts and events in Madison Square Garden, and for Aventura, they deployed a total of 52 EAW KF760 Series line array loudspeakers - 40 KF760 and 12 KF761 - to provide front, side and out-fill coverage. Rear coverage came courtesy of dual clusters of venerable EAW KF850z full-range loudspeakers, each in a "2 over 2" configuration.

And talk about low-end energy: Audiospectrum deployed 24 EAW BH760 bent-horn subwoofers. "This rocked the Garden like you would not believe - not only in terms of volume but the overall sound quality of the bass," Rafael says.

"Overall with the sound design, we made absolutely sure sound was in your face throughout the arena, all the way to the last seat in the house," he adds, also noting that both the FOH mix of Ramiro Samper and monitor mix by Peter Sawyer worked perfectly with the sound design in further enhancing the performance.

Posted by EAW at 12:36 PM | Permalink

Jeffrey Cox, Vice President of the EAW Brand Group, is the subject of an exclusive interview in the current issue of Production Partner, the noted German professional audio publication. (Jeffrey is shown at left with Jürgen Bachthaler, who heads up EAW's offices in Germany.)

The discussion covers a wide range of topics, and is also tied into the recent EAW B4 Roadshow and educational training sessions that appeared across Europe.

Our thanks to Peter Brüning for arranging and coordinating this interview, conducted by Detlef Hoepfner.

There's only one catch - readers fluent in the German language will really enjoy the interview, while those of us who are not must be content with the nice photos. Click on the pdf links below to access the full interview.

Jeffrey Cox-Production Partner Interview, Page 1
Jeffery Cox-Production Partner Interview, Page 2
Jeffrey Cox-Production Partner Interview, Page 3

Posted by EAW at 03:26 PM | Permalink