Tag Archives: Line Array

JBL BRX300 Series Line Array Debuts

JBL BRX300 Series Line Array
JBL BRX300 Series Line Array

UPDATEJBL Professional has updated its product announcement to note that the BRX300 Series Line Array is specifically only available for the APAC, China and India Markets.

Northridge, CA (June 23, 2020)—JBL Professional has launched its new JBL BRX300 Series of modular line array systems intended for use in small- to mid-size applications, such as bands, DJs, A/V rental firms, houses of worship and the like

The series launches with a variety of offerings—the BRX308-LA line array element, BRX325SP powered subwoofer with DSP, BRX308-ACC transport kit, BRX308-AF array frame and BRX308-PM pole mount and adapter kit, aiming to provide users with a scalable set up that arguably scales down JBL’s venue-sized line arrays to something that bridges the gap between those and a PPA.

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The BRX300 Series can be configured to accommodate a range of live music events, receptions and corporate functions. Systems are available in minimum one-subwoofer/two-top or one-subwoofer/four-top configurations and can be stacked, pole mounted or hung.

The BRX308-LA line array element features dual 8-inch LF drivers and a 3-inch titanium compression driver, reportedly providing 136 dB output and 110° horizontal dispersion, with variable interbox angles for fine-tuning vertical coverage. Meanwhile, the BRX325SP dual 15-inch powered subwoofer extends low-frequency energy to 32 Hz, with built-in 1,000-watt, 6-channel amplification providing 136 dB output and powering up to four BRX308-LA Line Array Elements. Internal DSP handles EQ, filters, driver-protection circuitry and crossover management, while built-in casters simplify transport.

That said, the BRX308-ACC transport kit also provides a self-contained transport system for four BRX308-LA Line Array Elements and includes padded covers for the cart, BRX3255 powered subwoofer and required speaker cables. Along with that, the BRX308-AF array frame supports one BRX325SP powered subwoofer or up to eight BRX308-LA line array elements in flown configuration, while the BRX308-PM pole mount and adapter kit mounts up to two BRX308-LA line array elements.

The JBL BRX300 Series will be available in July, 2020.

JBL Professional • www.jblpro.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/gear-and-technology/new-products/jbl-brx300-series-line-array-debuts

Inside Stereophonics’ In-The-Round Sound

Capital Sound created a concentric arc of Martin Audio MLA line array hangs above the B-stage to provide in-the-round style sound on Stereophonics' recent UK tour.
Capital Sound created a concentric arc of Martin Audio MLA line array hangs above the B-stage to provide in-the-round-style sound on Stereophonics’ recent UK tour. Sophie Hoult

United Kingdom (May 21, 2020)—Most arena concerts follow the same game plan when it comes to setting up the PA. With the stage at one end, you put up left and right line array hangs on either side of the stage, some side hangs to cover fans perpendicular to the stage, a bunch of front fills and subs down at the front of the stage, and if there’s budget and a need, maybe some delay hangs at the other end of the room. Now, want to throw a wrench in the works? Throw in a B-stage elsewhere on the arena floor and figure out how to keep those left-right PA hangs from bleeding into the mics. That was the challenge the audio team faced on Stereophonics’ most recent UK tour.

Band leader Kelly Jones specifically requested a B-stage at the end of a 60-foot thrust emanating from the stage. The band’s longtime FOH sound engineer, Dave Roden, spec’d his preferred Martin Audio MLA loudspeaker system for the tour, which he mixed to via a DiGiCo SD5 console. Ultimately, system tech Nick Boulton envisioned and deployed a distributed PA, using the Martin MLAs, that ran the length of the thrust to the PA.

The band’s longtime FOH sound engineer, Dave Roden, mixed each show on a DiGiCo SD5 console
The band’s longtime FOH sound engineer, Dave Roden, mixed each show on a DiGiCo SD5 console Sophie Hoult

Production was running Audinate’s Dante networking protocol to the stage and sending AES3 protocol to the hangs, with Martin Audio UNET back-up. Monitor engineer, Sam Cunningham was using a DiGiCo SD7 on stage while Roden himself was on an SD5 at FOH.

Boulton explained, “We did some modelling with the aim of getting as much even coverage throughout the arena while keeping the weird noises off the stage. With the end of the thrust 60 feet into the room, it was well within the coverage area of MLA so we simply moved the hangs downstage.”

As a result, the conventional main stage L/R PA hangs were replaced by two side hangs further downstage, comprising, respectively, two drops of 16 MLA Compact as conventional outfills. Meanwhile, a further eight MLA Compact for infills were mounted on trusses set near the beginning of the thrust, and angled down.

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When Stereophonics headed out to the B-stage, that third of the show was heard via  three hangs of 10 MLA and two MLD Downfills situated in the center and 90° upstage, forming a concentric arc at the end of the thrust. Three hangs of six MLX subwoofers were set behind that in end fire configuration. This design, Boulton felt, would reduce the sound bleed at the back of the stage, and help ease the room reflections.

Boulton leaned on the Hard Avoid setting in Martin Audio’s Display optimization software, not only creating rejection at the back of the stage but also the hard surfaces at the rear of the arena that would cause slapback. “We worked Hard Avoid to within an inch of its life,” he said. “Considering I had to take all the room measurements from scratch, and we have had to put hangs in different positions, it has been much quicker and easier than I had expected,” adding that at the new P&J Live Arena in Aberdeen, it took 25 minutes to build the plot.

Martin Audio • www.martin-audio.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/live/tour-sound/inside-stereophonics-in-the-round-sound

Orpheum Theater Upgrades with Sound Image

Touring sound/installation specialist Sound Image replaced the aging audio system in Flagstaff, AZ’s Orpheum Theater with a new EAW KF810P line array.
Touring sound/installation specialist Sound Image replaced the aging audio system in Flagstaff, AZ’s Orpheum Theater with a new EAW KF810P line array.

Flagstaff, AZ (May 20, 2020)—The Orpheum Theater in Flagstaff hosts a myriad of concerts, performing arts events and more—enough so that its PA system was ready to call it a day after 16 years. Teaming with Sound Image (Escondido, CA), the Orpheum Theater’s audio production manager Scotty J. demoed various systems and ultimately decided upon an EAW KF810P Line Array, backed by SB818P Single 18-inch flyable subwoofers.

Originally built in 1914 and then later rebuilt in 1917 following a major snowstorm, the Orpheum Theater is located in the center of downtown Flagstaff. It is listed on the National Register of Historic Places and recognized as one of the West’s most significant theater structures. The classic 650-seat space with additional standing room up to 1,000 people, hosts major bands, plays, classical concerts, film screenings, community events and occasionally TV shows.

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“The theater doesn’t specialize in one type of music or event, so we needed a versatile PA that could not only handle speech intelligibility, but also the decibel level of hip-hop and EDM shows,” says Scotty J. “Numerous times, I was worried that we had been pushing the existing PA to its last watt. The older PA’s amplitude was never a problem as we could make it loud, but the coverage, because of the design of the theater itself and the number of boxes we had, just wasn’t adequate for the room.”

Scotty worked directly with Ben Davis from Sound Image who advised on the purchase and design of the rig. “Ben came out, looked at the room, took his measurements and discussed with us what was available within our budget,” says Scotty J. “We looked at several different systems and EAW was clearly the best option. I heard the EAW rig in a few different environments and it always sounded amazing. Through my interaction with the EAW team, I knew I wanted to work with them. Also, a lot of the acts/engineers that come through the venue know EAW, which added to my confidence in the brand.”

The new EAW PA system consists of 12 KF810P line arrays with six boxes on the left and right respectively, 12 SB818P Single 18-inch flyable subwoofers and four RSX129 2-way self-powered loudspeakers for front fills. When spec’ing the system, Davis wanted to make sure the PA could generate enough SPL from the mains and didn’t want to rely too heavily on the subs. In addition, the venue is a long rectangular space with a balcony on one end, so making sure the balcony was covered was another important factor.

“We made a very significant investment for the theater in order to attract more national acts,” adds Scotty J. “We are excited to unveil it in the very near future, once the theater re-opens.”

Eastern Acoustic Works • www.eaw.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/live/regional-and-local/orpheum-theater-upgrades-with-sound-image