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Martin Audio

FLAGSHIP WPL DEPLOYED FOR PANDORA Y FLANS’ INESPERADO US TOUR

US: All-female Mexican vocal groups, Pandora and Flans recently undertook a 17-city theatre and arena tour of the US, mostly visiting the Southern States.

The Inesperado (‘Unexpected’) tour, as it was known, was supported by a large inventory of Martin Audio WPL line array, provided by New Mexico-based rental partner, High End-RG Productions.

The high energy show itself, which combined the two legendary groups in one spectacular event, had never previously been presented, and it picked up 5-star reviews wherever it played.

We used the ‘Hard Avoid’ whenever it was needed, and I must say what a beautiful tool this is.
Enrique Ortiz, RG Productions

Martin Audio’s market leading Wavefront Precision PA was deployed, 12 boxes per side for the group’s FOH sound engineer, Luis Quiñones. High End-RG Productions president, Enrique Ortiz, confirmed that the PA set-up had been designed in collaboration with system engineer, Orlando Calzada, with the 12 SXH218 subwoofers set in an L/R cardioid configuration, six enclosures per side, providing the LF extension.

Responsible for outfill dispersion were eight W8LC on each wing, with eight Martin Audio FlexPoint FP8 acting as front fills, with eight WPS on top of a pair of SX218 subs providing sidefill coverage. This was all powered in 2-box resolution by a combination of four Martin Audio iKON iK42 four-channel amp racks, while a pair of Linea Research M48-20 racks, from their Focusrite Group partner, powered the W8LC outfill hangs. With just two exceptions, the full complement of speakers was deployed at all venues.

From a sound perspective, the tour was split into two, with Orlando Calzada taking on system tech duties for the first half, to be replaced by Enrique Ortiz for the latter part. “Between us, we made the design and prediction in DISPLAY 3, and Luis Quiñones then optimised the alignment of the PA,” explained Enrique. He added, “We used the ‘Hard Avoid’ [function] whenever it was needed, and I must say what a beautiful tool this is.”

His production team had worked closely with Martin Audio tech support to achieve the optimum result, and win the satisfaction of both Miriam Rodriguez, the group’s production manager, and Felix Ovalles production manager of the promoters. Enrique confirmed, “Martin Audio were extremely supportive. Jim Sage provided some additional equipment to ensure we achieved the best outcome, and we received excellent tech support at the start of the tour, when it was especially important, from Will Harris.

“This created a great impression with the artists’ production and the promoters. They loved the idea that we were not just another supply company, but one with active support from a leading brand behind us.”

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Optimal Audio

Optimal Audio for Weibi Music Bar

CHINA: Located in the bustling city of Nanjing, Weibi Music Bar has installed Optimal Audio’s Cuboid series to power sound for regular live performances of various genres, including jazz, blues and rock.

The owner was looking for a sound system to accurately reproduce the performance of live bands and singers and turned to an Optimal Audio solution to create a new space that integrates music, art and technology. The Cuboid 10 and Cuboid 12 speakers have been wall-mounted in different areas of the bar to provide uniform coverage. Due to the venue’s small size, the compact form factor of the models has enabled them to integrate into the space without affecting its aesthetic. The system has also been fine tuned to ensure clear tones and impactful sound in every area.

In addition to great visitor feedback, the return rate of customers has also increased significantly since installing the system. Furthermore, the venue has also attracted more well-known musicians and bands for performances.

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Categories
Martin Audio

FABRIC LONDON EXTENDS ENDURING RELATIONSHIP WITH MARTIN AUDIO

UK: Fabric London has extended its relationship with Martin Audio dating back nearly quarter of a century, by announcing a substantial upgrade to its flagship Room One.

Since the installation of Martin Audio W8C, Blacklines and WSX subwoofers at the start of the new millennium the club has never looked back, having gone through several generations of Martin Audio systems—maintaining its faith in the state-of-the-art sound systems, offered to its roster of world class DJs.

But when it came to the latest refresh, technical manager Matt Smith decided to follow a different path. Nervous at the prospect of losing what he describes as “that distinctive Room 1 sound” he asked Martin Audio if they would overhaul the existing 20-year-old W8L line array by fitting it with new drivers. And such is the close relationship that has endured between these two premier brands, the High Wycombe manufacturer was happy to oblige.

However, it was quite a journey before that decision was reached, and involved auditioning several different brands. “Although they all sounded amazing it was just going to change the character of what the room was about,” Smith acknowledges. He was also mindful that it had beenfabricfounder Keith Reilly who had countenanced the original switch to Martin Audio “and that there was a romanticism about this system.”

Finally, he consulted the club’s inner pool of promoters, DJs and sound engineers, along with his in-house team: “they were unanimous that we should renovate in order to retain the signature Martin Audio sound and preserve what is quite a historic installation.”

There was a romanticism about this system.
Matt Smith, Fabric

Where Matt Smith has been particularly clever is in supporting the re-energized mid-tops with an entirely end-to-end Martin Audio infrastructure, including SHX218 2 x 18” subs, iKON multi-channel DSP amplifiers, new FlexPoint speakers and XE300—at the same time repurposing the classic and utility Blackline F12s that have delivered DJs’ reference sound up in the booth.

The new Room 1 layout offers the familiar sight of the four newly powder-coated four W8L, two left and right on the stage, matched with repurposed W8C, two left and right at the back.

The eight SHX218 subwoofers, designed in a broadside array under the front of the stage, represent a piece of construction genius, once the club had decided to revert to a horn hybrid. Because these are much bigger, we had to take the wheels off and enlarge the cavities under the stage. Now you can barely get a Rizla between the bass bins and the wall!” quips Smith. Providing design support for time alignment of the sub arrays were Martin Audio’s technical support team of Dan Orton, Ben Tucker and Paul Connaughton.

But it’s “under the hood”, to use Matt Smith’s words, that the magic tales place—with 10 Martin Audio iKON amplifiers (9x iK42 running the bulk of the system, with a single iK81 driving the MF / HF for the main enclosures).

The club’s original DSP and networking had been entrusted to the Soundweb environment but the DSP for the sub array, along with delay times and all presets have now transferred to the process-controlled iKONs. “The amps are immensely powerful,” notes Smith, “and I think we would do some structural damage if we turned them up to their max.

“It’s nice because we are just ticking over with our outputs on the amps whereas before we would have physically needed to constantly check [our amps] just before peak. The beauty of the iKONs is that they self-monitor and with the processing now taking place in the iKONs, we can monitor them remotely via [Martin Audio’s] VU-NET software.”

Meanwhile, four of the recently launched FlexPoint FP12’s have replaced those original, custom-built Blackline F12s in the DJ booth, the latter redeployed to rear downfill duties “to make the size of the dancefloor a bit bigger.” New X15s distribute sound at mezzanine level along with two further repurposed Blackline F15s. Finally, four additional XE300 are available for nightsfeaturing live bands or MCs.”

Although the installation is taking place in phases, the verdict to date fromfabric’s technical manager is already 100% positive. “The new system delivers a lot more power, and with the power availability of the amps we are never going to get near peaking. It’s very clean, tight and punchy … but it’s not about volume for us, we want to keep it sounding good rather than loud.”

And, of course, aside from the romance associated with preserving Martin Audio’s legacy system, there is also the emotional attachment with the custom F12s. “The number of DJs they’ve seen in Room 1, those F12s … you just can’t get rid of them ,” concludes Matt Smith. “Fortunately, we’ve found a really good use for them, and they are doing a great job in their new place.”

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Categories
Optimal Audio

Optimal Audio gets a Slice of the Action at The Pizza Store

US: Based in Laguna Hills, California, dB Media Services is a provider of audio and video solutions for installation and live events in a wide variety of settings, including conference rooms, houses of worship, corporate events and hospitality venues. Specialising in high quality AV solutions for commercial premises, dB Media Services has been a trusted supplier in the region since 2005.
 
When new owners OC Local acquired the long established The Pizza Store in Laguna Hills, they engaged Dan Burdett of dB Media Services to provide a new audio system that would deliver premium quality at a competitive price. dB had previously tidied up a third-party install at one of the restaurant group’s other venues and OC Local were keen to achieve the same audio standards for their remodelled new venue. Dan recommended, designed and installed an Optimal Audio system for The Pizza Store:

“Optimal Audio was a great option for this project because of its high performance/low cost ratio. Restaurants don’t always have the required budget available for media technology, so the Optimal Audio product matched the needs of the budget without any audio compromise, as well as meeting the high performance standards expected by dB Media.”

The refurbished store comprises a dining area of more than twelve-hundred square feet, accommodating sixty to eighty guests who are able to watch sports on eight 4K 65” displays. dB Media Services installed four Optimal Audio Cuboid 8 two-way, passive 8” loudspeakers with yoke mounts, distributed equidistantly on the ceiling, supported by a single Sub 10 low-profile, sub bass loudspeaker, also ceiling mounted in a central position. A single Optimal Audio SmartAmp 30 4 x 250W amplifier with integral DSP drives the system.

Dan Burdett concludes:

“The system was trouble-free, straightforward to install and sounds great. The client is very happy with the high performance and value offered by the Optimal Audio products.”

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Categories
Optimal Audio

Optimal Audio in Blum Position

SA: Founded in Austria during the 1950s, Blum is now a global leader in the manufacture of furniture fittings. Its international network spans 120 markets worldwide, with manufacturing plants and sales offices providing a range of services for cabinet makers, the furniture industry, and hardware distributors.
 
Located in Sandown, Johannesburg, Blum’s South African branch recently approached audio-visual specialists Audiosure with a view to enhancing its space with a new audio system for background music, as well as adding advanced AV connectivity.
 
Audiosure’s Solutions team installed a zoned Optimal Audio-centric system to meet the brief. The ability to switch between various sources and zones where customers browse was an essential requirement, as was the ability to support visual playback to its team or clients via a projector and wireless microphone across all or just selected spaces. Ease of use was very important, as was the need for an aesthetically pleasing appearance in a high-end environment.
 
Audiosure’s John Greaves designed a system that could be deployed as seamlessly as possible and could be controlled from a smartphone or tablet. An Optimal Audio Zone 4 controller with DSP and WebApp controls the overall system, which includes third party speakers in some zones, with Optimal Audio Cuboid 8 and Sub 10 units (powered by SmartAmp 30) deployed to support presentations and events in the main area.
 
John Greaves comments:
 
“We kept the system small, efficient, and simple to use, with the Zone 4 allowing everything to be controlled by the client through WebApp via a phone or tablet. The controls in front of the operator are exactly the ones they need – nothing more, nothing less. The Cuboid 8s also allowed us to gain a great level for presentations and video playback. Optimal Audio proved to be the perfect fit for this installation, delivering excellent results for a very satisfied customer.”

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Categories
Optimal Audio

Optimal Audio puts Zone in Calzone Restaurant

US: Mezzo Calzones is a brand new eatery in the Southern Californian city of Anaheim. Specialising in calzones, beer and wings, and located close to the Anaheim Angels stadium, the restaurant is certain to become the favourite haunt of Major League Baseball fans attending games at the venue. Sports-focused, with multiple TV screens showing a variety of events, Mezzo engaged IT/AV specialist integrator Hosted Connection to install all its IT/network and AV systems.

Hosted Connection enjoys a strong reputation in the region, having supplied customised solutions to businesses for more than a decade. Sales Engineer Josh Rezaeio oversaw the project:

“Audio and video are relatively recent additions to our remit, so we consulted with expert Jeff Miranda (then at Allied ProTech) about delivering a high-quality, zoned audio system for Mezzo which would be easy to control for busy staff. His extensive knowledge and experience were instrumental in helping us deploy the right products. He recommend an Optimal Audio system and having taken into account the layout of the TV screens, specified the equipment required for the audio and video elements.”

Host Connection installed a system based round an Optimal Audio Zone 4, 4-zone audio controller with DSP and WebApp, which comprised twelve Up 6 two-way passive, full-range 6” ceiling speakers, and two Cuboid 5 two-way, full-range, passive 5” on-wall loudspeakers, driven by a single SmartAmp 30, 4 x 250W amplifier with DSP. As well as control via WebApp on mobile devices, a ZonePad 4 wall controller was installed to provide staff with intuitive and simple access to the essential controls for the system.

Josh continues:

“Optimal Audio has been incredibly easy to work with, and we’ll continue to use the ecosystem for future projects. At Mezzo, the user-friendly and highly configurable system was very easy to install and delivered outstanding sound quality throughout the venue, with perfect clarity both inside and out. The client loves the system’s performance and ease of use.”

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Categories
Martin Audio

MARTIN AUDIO FEATURE IN MEMORABLE WEEKEND AT ASHTON GATE STADIUM

UK: SWG Events joined forces with fellow Martin Audio network partner 22live recently to field a massive 80 premium loudspeakers from the British manufacturer at Ashton Gate, home of Bristol City FC, over a memorable weekend.

The Saturday event, called ‘Ashton GatePresentsBS3’, saw American singer-songwriter Ne-Yo headlining an all-star 10-act bill, that included Craig David, Jess Glynne, Dizzee Rascal, DJ Spoony and local legend, Roni Size, which had the 27,000-capacity crowd in raptures.

The staging then changed for the Sunday, which saw Kings of Leon playing the venue as part of their‘Can We Please Have Fun’ worldtour.

SWG Events’ head of sound, Simon Purse explained the PA design, which he had overseen. Left and right main PA comprised drops of 16 WPL, supported by two outhangs of 12 elements in each.

We had excellent intelligibility across the entire site.

Simon Purse, SWG Events

There were a further two delay towers of 12 drops each, making a total complement was 80 flagship WPL line array cabinets deployed. These were driven in 2-box resolution from Martin Audio’s process-controlled iKON amplifiers. A further 24 of the smaller Martin Audio WPS arrays provided frontfills, with TORUS on sidefills and XE500s as optional reference monitors for those artists not on IEM.

Reproducing the low frequencies were a total of 40 SXH218—30 in a split broadside array across the front of the stage, to enable a stage thrust to move in on the Sunday, with a further three in each delay position and a monitor for the DJ.

Simon Purse’s original CAD design was transposed into Martin Audio’s D3 software, where system tech Ryan Bass took over. “I made a few tweaks, but everything was largely based on Simon’s original design,” he said.

Purse added that the biggest challenge had been in mitigating typical stadium reflections. “There were a lot of hard surfaces, a lot of weird roofs, strange reflective screens that we had to try and avoid. But we used Martin Audio’s modelling software to optimise where and how we deployed and pointed the system.

“At the same time we used ‘’Hard Avoid’ [in the D3 software] in the areas that we were actively trying to get rid of. So a mixture of PA design and software enabled us to achieve full system optimisation once everything was in place.” The cooperation with 22live, he said, had been 100% successful.

Simon Purse reflected further on the success of the event. “The PA design worked really well; we had excellent intelligibility across the entire site, and while being noise considerate of the neighbours, we made no compromises to the audience.

“There are a few gigs every year where I stand back and think what an awesome rig this is—and this was one of them.”

Click here to watch the full video:https://youtu.be/TjvWwEtgYbA?si=p39lUk2dC6pjlAu9

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Categories
LEA Professional

Lea Amps Courtside Las Vegas Arena

To amplify the atmosphere for select fans at this Las Vegas Arena, Edge Sound Research leveraged the cutting-edge technology of Connect Series amplifiers to deliver a fully immersive audio experience. 🏀

 

THE SPEC

🏢 Venue: Thomas & Mack Center | Las Vegas, NV

👷‍♂️ Integrator: Edge Sound Research

🎶 Audio Spaces: Courtside Deck (Premium Seats)

🦈 Product Used: Connect Series 354 (Multiple)

The Integrator

Valtteri Salomaki and Ethan Castro, founders of EDGE Sound Research are making waves in the pro AV and pro sports worlds with their cutting-edge audio technology called Embodied Sound™. Salomaki and Castro aim to bring sound not only to the ears of their listeners but to their entire bodies.

From an early age, Castro held a special interest in audio. Born with conditions that would eventually leave him hard of hearing at a young age, he had to rely on how the audio felt instead of how it sounded and would hug his father’s loudspeakers to ensure he could feel every vibration. Now, Castro possesses a Ph.D. in digital composition, with research focused on combining hearing and feeling to create a new form of audio reproduction that everyone can experience. When he met Salomaki and shared his research, it was clear that the two were bound to create something amazing. 

THE INSTALL

During games, emotions run high in the arena. The thrill of every point is felt throughout the crowd. To bring that excitement to everyone in the VIP section of this Las Vegas Arena, EDGE Sound Research needed to specify an amplifier that was as innovative and powerful as their philosophy. This made LEA Professional the perfect match. 

“We take the audio from the game that gets picked up by the broadcast, and we provide it in our sections of a venue,” Salomaki said. “That way, a fan can hear and feel everything from the dribbles to the shots, the swooshes, everything that makes them feel like an actual player in the game versus a spectator. Our ultimate goal is to redefine how personalized and curated a sports experience can be.”

To ensure every guest feels like they’re on the court, EDGE Sound Research specified multiple LEA Connect Series 354 amplifiers. The 354 is a 4-channel amplifier with 350 watts per channel. As part of the Network Connect Series, the world’s first Internet of Things- (IoT) enabled professional-grade amplifiers, it is perfectly suited for installations of all sizes, making it the ideal fit for the exclusive courtside deck.

 “LEA is right in that sweet spot where we have the power requirements, the channel counts, and the super-efficient architecture,” said Castro. “We no longer require a separate DSP unit or monitoring tool to determine uptime and ensure performance remotely. LEA’s excellent SharkWare and Cloud solutions give us all the control we need both on deployment and remote monitoring of all aspects of the system after we leave. The LEA Cloud takes care of that and provides us with unmatched efficiency and ease of use.”

“Before we standardized on LEA Professional’s technology, we had to use two to three different pieces of equipment that would take up an entire rack,” said Castro. “To be able to have everything in a 1U rack space was the game changer that we needed. It’s sleek, it’s easy to control, and we can do it remotely with reliability we can trust.”

THE CONCLUSION

EDGE Sound Research has integrated LEA Professional amplifiers in various exciting applications, with plans for continued collaboration. The team is centering their complete audio solution around LEA amplifiers as a core component of the tech stack. They aim to leverage even more capabilities to craft personalized audio experiences in the future.

“EDGE Sound Research is the definition of innovative. Salomaki and Castro completely reimagined the typical audio experience, and the results are outstanding,” added Scott Robbins, Vice President of Sales at LEA Professional. “Our amplifiers are a great match for the EDGE Sound Research philosophy. We share the idea that it’s never time to stop pushing the envelope and experimenting with how we can do better and reach more people in a way they’ve never heard or felt before.”

A special thanks to Edge Sound Research for choosing our amps for this incredible installation. We’re thrilled at the opportunity to collaborate with you and ensure unparalleled sound quality for many years ahead.

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Categories
Martin Audio

SWG EVENTS’ GLASTONBURY STAGE ENHANCEMENTS BRING BEST OUT OF MARTIN AUDIO WP

UK: SWG Events extended their long association with the Glastonbury Festival, again deploying Martin Audio systems in a number of feature areas.

According to Head of Audio, Simon Purse, they made significant changes to two stages: BBC Introducing and Woodsies, while also providing Martin Audio systems for The Park Stage and Leftfield.

BBC Introducing embraced Martin Audio for the first time, having traditionally had its sound delivered by another brand.

The move from its usual enclosed tent behind the Pyramid Stage to a more open, saddlespan structure required a fresh, upscaled approach to the PA, as it was able to attract a larger audience. “We were able to swap out the previous system for a ground-stacked [Martin Audio] WPS system—so it was quite a major upgrade. Having more PA meant we were able to deliver a superior sound,” stated Purse.

Beneficiaries of this included Antony Szmierek, FIZZ, Jordan Mackampa, Paris Paloma, Pixey, Kingfishr and Maruja.

With such a demand on their Martin Audio inventory this summer, SWG Events had thought strategically, arranging for the six-a-side WPS rig and eight SX218, that they had recently installed at Cardiff Students Union, to move back into their rental stock at term end, and in this instance take up occupancy at BBC Introducing, where they functioned as Left/Right stacks (to avoid intrusion on camera positions) driven in 2-box resolution from the iKON amps. Four Blackline X8 acted as frontfills and a pair of TORUS T1230 as outfill. “The advantage of this arrangement,” noted Purse, “was that we could get greater height on the PA, which is precisely what we wanted.” Martin Audio LE1500s, were provided for artist monitoring, underpinned with SX118 subwoofers.

Meanwhile, nightly headliners at Woodsies were Gossip, Jamie xx and James Blake but the highlight was the surprise appearance of ‘secret act’, Kasabian.

Knowing the importance of this stage, Simon Purse managed to push for a full 12 a-side WPL rig in 2-box resolution, with split L/R ground stack sub system comprising 12 SXH218—providing ample coverage in a 75m diameter big top holding around 6,000.

“However, when word got out about Kasabian there must have been 15,000 people trying to get in,” he observed. Adding to his rig were eight WPC on front fill “which worked extremely well, and something I’ll definitely adopt again next year. It gives you the power you need for a big stage and avoids the risk of running out of headroom on the front fills.” Four TORUS T1215 sidefills (two a side) provided stage monitoring along with two cardioid SXC118s—along with a full package of XE500 monitor wedges.

A measure of this stage’s success (and a source of personal satisfaction for Simon) was the number of emails received from band productions afterwards, praising their experience.

Sitting high over the festival site, The Park Stage was another area SWG Events can look back on with pride as they helped gild the performances of headliners, Fontaines DC, Peggy Gou and London Grammar.

Here they fielded 12-a-side W8LC, and two W8LCD a-side Downfills, with 16 WSX 218, in L/R stacks. The stage package comprised 12 XE500 monitors with SX118 subs. “Although it’s older tech, the W8LC rig is almost iconic to that stage,” says Purse.

Combining pop and politics, Leftfield’s sound requirements tilt more towards reinforcing the spoken word. Currently this used Martin Audio’s W8LM. This was flown, eight-a-side chain hoisted onto a goalpost truss structure. For artist reference monitoring, 12 LE12J wedges were available.

Summing up the weekend, Simon Purse was delighted with the company’s achievements. “We had a really good team, the bands worked extremely well, and overall it was just an exceptional year where the atmosphere throughout was fantastic.”

Crew on Woodsies stage consisted of Sam Jones (FOH);Xav Booth (FOH tech);James Marsh and Dylan Jones (patch); Oliver Haward (monitors) and Tom Malin (monitor tech).

The Park Stage crew comprised Joe Bailey (Project manager); Adam Andrews (FOH); Ian Williams (Systems); Fraser Wilks, Tom Baxter, Laura Evans and Ieuen Fishburn(patch); Will Fisher (monitors) and Kieran Jordan (monitor tech).

On BBC Introducing, crew boss/patch was Dan Jenkins; Jack Kenyon (FOH); Harrison Burdon (monitors) and Callum Jones (patch).

Photography by Lee Perry and Jamie Gomez.

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Categories
LEA Professional

LEA AMPS FOR IMMERSIVE AUDIO SONIC SPHERE

Lea Amps For Immersive Audio Sonic Sphere

To create hyperreal and deeply multisensory shared experiences, the creative team at Sonic Sphere chose LEA Professional to power the immersive journey. 😲

THE SPEC

🏢 Venue: Sonic Sphere | New York City, NY

👷‍♂️ Integrator: In house creative team

🎶 Audio Spaces: Full Sphere

🦈 Product Used: Connect Series 354D (31)

SONIC SPHERE

The Sonic Sphere is the brainchild of Ed Cooke, a British cognitive science expert and entrepreneur, sound architect Merijn Royaards, and engineering director Nicholas Christie. Since 2021, Cooke and his team have built Sonic Spheres in France, the United Kingdom, Mexico, and the United States, including Burning Man. The sphere at The Shed in New York City is the 11th and most advanced sphere, after iterations of increasing size and technical sophistication.

 The sphere costs more than $2 million and includes 1,178 steel struts, 3,500 yards of cloth, and 12 structural cables supporting the sphere from the roof. The vast, 65-foot-diameter spherical concert hall has a capacity of roughly 250 people, who sit or lie in netted areas. This revolutionary new architectural space features immersive, 3-D sound and light explorations of music by boundary-pushing artists

THE INSTALL

Sonic Sphere installed 31 Connect Series 354D amplifiers to power the immersive audio experience. With 96kHz-capable Dante and AES67 connectivity options, the IoT-enabled 4-channel 354D provides 350 watts per channel into 2, 4, and 8 ohms, and 70Vrms and 100Vrms. The CS354D includes advanced DSP with 96kHz linear phase FIR crossover filters, acoustically transparent look ahead RMS and peak limiters, and 32-bit floating-point DSP with built-in sample rate converters. It also supports Hi-Z (70V or 100V) and Lo-Z selectable by channel and features Smart Power Bridge technology. 

We were amazed with the LEA Amplifiers,” said Merijn Royaards, Creative Director at Sonic Sphere. “The footprint of each amplifier was a lot smaller, they perform over and above what we were used to, and they’ve got a really helpful interface and an excellent way of tuning a system, which we were missing very much with our previous solution. And suddenly, many previously difficult or impossible things were easy for us to accomplish.”

Within the sphere, guests are surrounded by 124 meticulously arranged loudspeakers that move sound above, below, through, and around the body. Sound and light waves are sculpted into spatialized, temporal architectures. Together, they create hyperreal and deeply multisensory, shared experiences

THE CONCLUSION

Whether from within the sphere or a different continent, controlling the Connect Series amplifiers from afar helps teams work more efficiently, reducing travel and saving time and money.

Sonic Sphere really is a laboratory for the senses, where technology and art come alive,“ said Brian Pickowitz, VP of Marketing at LEA Professional. “We’re very proud to have played a role in such a transcendental experience.

A special thanks to the creative team at Sonic Sphere for choosing our amps for this incredible installation. We’re thrilled at the opportunity to collaborate with you and ensure unparalleled sound quality for many years ahead.

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