SPAT REVOLUTION HIGHLIGHTS

Flyover in Chicago Takes Off With Help From FLUX:: SPAT Revolution and JBL Professional

Mala Ancestral Story Wintjiri Wiru Brought to Life Through Flux:: SPAT Revolution and JBL Professional

HARMAN Professional Solutions, the global leader in audio, video, control and lighting systems announced two new loudspeaker additions to its JBL Professional PRX900 Series powered portable PA family. This expands the lineup to include seven models – five powered loudspeakers and two powered subwoofers to support even more needs and applications.

The new JBL PRX925 and PRX935 loudspeakers are perfectly aligned to existing PRX900 models by integrating advanced acoustics, comprehensive DSP, unrivalled power performance and durability and complete BLE control via the JBL Pro Connect app.

“We’re thrilled to offer these new PRX models to our customers,” said Brandon Knudsen, Senior Product Manager, Portable PA Loudspeakers. “Since launching the family, we have continually looked for opportunities to make the system more versatile to support even more applications and requirements. These new speakers are perfect for a wide range of new and expanded use cases and we can’t wait to start seeing them at work, supporting our users.”

For complete product details and specifications, please visit:

• PRX925 Two-Way Dual 15-Inch PA Loudspeaker
• PRX935 Three-Way Single 15-Inch PA Loudspeaker
• PRX900 Powered Portable PA Series

JPRO Interactive Showroom  |  JBL Synthesis Luxury Home Theatre Demo

Visit the interactive JPRO Showroom to experience cutting-edge audio, video and control solutions from JBL Professional, BSS Audio, AMX and more. We also feature the only JBL Synthesis-certified luxury custom cinema demo room in New Zealand, where you’ll experience sound so rich and immersive it feels as though the film is unfolding around you!

The JPRO Experience Centre is available by appointment only. Contact us or book your experience today!

Auckland, New Zealand: JPRO, a leading distributor of professional audio, video and control technology solutions, is excited to announce its appointment as the New Zealand distributor for Bettear Wi-Fi and Auracast™ Assistive Listening Solutions.

Bettear create innovative wireless assistive listening systems by using the latest advancements in Wi-Fi and Auracast™ technologies. These systems aim to transform how people with hearing difficulties experience audio in both indoor and outdoor spaces such as conference rooms, concerts, museums and houses of worship. This is achieved by offering immediate and convenient access to high-quality assistive technology through personal devices including smartphones, hearing aids and other audio technologies like receivers provided at venues.

“We are excited about our partnership with Bettear, enabling JPRO to offer an accessible and inclusive assistive listening solution in New Zealand,” says Paul Edlin, Sales Director at JPRO. “The B-Show Wi-Fi streaming solution that we have experienced has a variety of user-friendly accessible features. Bettear products integrate with existing loop systems and with more devices now featuring Auracast™ technology, we can deliver a leading solution that enhances the lives of many.”

“We are thrilled to partner with JPRO to bring Bettear’s cutting-edge assistive listening solutions to New Zealand,” said Mr. Itamar Gabbay, Bettear’s CEO. “Our Wi-Fi and Auracast™ based streaming technologies offer a seamless and personalised audio experience for people using hearing aids, cochlear implants and other hearables. JPRO’s expertise in the New Zealand market, combined with Bettear’s innovative technology, will empower users to connect their own devices and enjoy crystal-clear audio in any venue. This is an exciting step in expanding access to assistive listening technology across New Zealand, ensuring everyone can fully participate and engage in social and cultural settings, fostering a more inclusive society for all.”

JPRO has extensive experience providing assistive listening solutions and with Bettear in their product portfolio, will be able to offer cutting-edge, user-friendly accessible solutions in New Zealand, along with exceptional support, free expert advice and assistive hearing designs to its customer base. The synergy between the companies is immense, with all having a strong commitment to providing a high-quality listening experience.

Availability:

Bettear Wi-Fi Products are now available to demo and purchase in New Zealand. To discover more of the Bettear products in NZ, click here. To learn more about the manufacturer, click here.

The B-CASTER, Bettear’s feature-rich Auracast™ Streamer, will be available soon. Please use the contact form below to reach to our team of experts for your assistive listening solution.

The Opportunity

Founded as an audio visual installation company in 2015 by former touring musician and sound engineer Matt Chapman, the company has since expanded into a full-service equipment supplier for the event industry, contributing to some high-profile events and installation projects throughout New Zealand.

The first real run of the new line array was a solemn occasion, yet the ideal opportunity to utilise all of Audio Workshop’s JBL VTX arsenal, from its VTX F-Series through to the newly acquired VTX A8. Shortly after Matt and the Audio Workshop Team had received their JBL VTX system training by JBL distributor JPRO, the production company was contracted to be the audio visual service provider for the Queen’s Memorial Service held in New Zealand’s capital city.

Audio Workshop was tasked to provide audio visual services in three areas – the Wellington Cathedral of St Paul located opposite Parliament for the State Memorial Service and live screenings in the Parliament Grounds with a main arena and overflow for the public.

The Solution

The State Memorial Service in the Cathedral was attended by dignitaries including Prime Minister Jacinda Ardern. Due to the sensitive acoustics of the historic church, Audio Workshop deployed their portable JBL CBT1000 high output line array column as main PA with JBL CBT100 line array columns as fills.

Members of the public were invited to gather in the grounds of Parliament where the new A8 system was put to the test for the first time. 6x JBL VTX A8 line array elements were flown on each side of the large screen with video and audio from the memorial service being broadcast to those in attendance. 4x JBL VTX B18 subwoofers for low frequency extension were included.

“We simply had to include the subs so that we could enjoy the pipe organ that can produce bass frequencies down to 20Hz,” quips Matt Chapman. “The detailed audio reproduction by the VTX A8 and B18 is remarkable!”

The Audio Workshop Team clearly appreciated the accuracy and fidelity of the JBL VTX A8 as well as the simplified patented rigging system which makes system set up and pack down quicker and easier.

The delay stack in the Parliament Gardens consisted of JBL VTX F35 loudspeakers being flown on the truss alongside the screen. The F35’s integrated mounting points allowed the system to be set up at the required angles while its high output three-way enclosure provided pristine audio coverage over the area.

The Impact

“We are very excited to expand our range of JBL VTX speakers to include the A8 line array, B18 subs and M20 monitors. For us it has been a natural progression to expand our inventory with a high-end tour grade line array from JBL Professional. The demand to provide audio for larger events necessitated this,” says Matt Chapman. “We were satisfied with the performance from the F35’s and the level of support by JBL distributors JPRO, and as we already had Crown iTech HD amplifiers and many JBL loudspeakers, it made financial sense to keep it in the family as these systems can work together.”

“The VTX A Series really sounds amazing, providing smooth accurate sound reproduction and versatility. The Queen’s Memorial service was our first time flying our expanded VTX A8 Line Array along with our other systems. The set up of all the gear was simple and fast thanks to the rigging system that works exceptionally well.”

Wireless receivers typically search for the strongest matching signal, irrespective of its quality, which means that the RF signal environment should be as clean as possible. This environment is referred to as the signal noise floor, which is the amount of background RF (Radio Frequency) noise present before any required signals are received.

USING BANDPASS FILTERS

While the implementation of best wireless audio practice such as frequency coordination with effective antenna distribution and antenna placement is always encouraged, there are RF tools available that can lower the noise floor in the RF spectrum and prevent the RF receiver overloading.

Lowering the noise floor is achieved by using a bandpass filter to reduce and filter out unwanted frequencies on each side of the desired frequency range. It is simply inserted in the antenna signal path and allows a specific range of frequencies to pass, while restricting the frequencies on either side outside that range. If a diversity system is used, a bandpass filter should be inserted on each antenna line.

REDUCING INTERMODULATION WITH BANDPASS FILTERS

Using bandpass filters can effectively reduce intermodulation problems when using several IEMs and wireless microphone systems together.

RF Venue bandpass filters have been designed to work with any brand of wireless system, provided that the correct frequency band is selected.

If you need assistance in configuring your wireless microphone setup and would like to implement best practice measures using correct antenna distribution, please contact our team of experts at JPRO today!

If you have a question about using bandpass filters in your system, or need assistance with your wireless microphone setup, contact our specialist Team at JPRO today!

Written by Andrew Sorrill with information based on RF Venue blogs.

Bibliography:

• Unplugging the Mystery Behind (and Inside) Video Wall RF Interference
• Bandpass Filters Are Your New Friend
• Improve Microphone Signal-to-Noise Ratio
• Bandpass Filters

To experience Nashville’s Ryman Auditorium is to experience a lifetime of musical legacy. It’s the birthplace of bluegrass, the home of country, the embodiment of the history and spirit of Music City.

You can practically feel the ghosts of the titans who have passed through these hallowed halls: Johnny Cash. Patsy Cline. Enrico Caruso. Theodore Roosevelt. Houdini. Elvis. Not to mention thousands of up-and-coming musicians hoping to walk in the footsteps of their heroes and claim their own place in the venue’s storied history.

Today, artists of every genre, from Taylor Swift to the Foo Fighters, are honoured to stand on the Ryman stage. A National Historic Landmark and multiple Pollstar Award winning venue as Theatre of the Year, the facility operates as both a performance venue and a living museum, holding more than 260 shows each year while hosting 1,500 visitors daily for guided tours.

“We look to create the most modern experience that we can while still holding on to the heritage that people expect,” says Sally Williams, senior VP of programming and artist relations at Ryman parent company Opry Entertainment Group. “We have to continue to add new technology. We have to continue to welcome new types of artists. We always try to make sure that what we’re doing right now will resonate in the same way in 100 years.”

The Ryman is revered as much for its acoustics as its heritage. The 2,300-seat auditorium, born as a revival hall in 1892, was designed to project the booming voices of evangelists, with curved, reflective walls and rows of century-old hardwood pews wrapping the low stage. But those same live qualities of the hall present significant challenges for amplified events, from managing stage volume to ensuring that mixes worked out in a reverberant, empty hall at soundcheck translate well to a full house. Compounding matters is a long, low under-balcony area prone to inconsistent coverage.

“Some people throw their hands up after soundcheck and say, ‘I don’t know. It’s going to be terrible,’ and they freak out,” says Grand Ole Opry audio services supervisor Mark Thomas. “They’re sitting at their consoles really carving inputs and changing the EQ. We usually tell them, ‘No, just stick with what you know works. When the room fills up with people, a lot of the energy will be tamed right away.’”

Sound reinforcement at the Ryman has been handled by JBL since 1994, with a system optimized for acoustic country, bluegrass and light theatre; that was replaced by a VerTec system in 2005. As the venue began booking more genres and louder acts, system headroom was pushed to the limit. “We couldn’t keep up with some of the louder stage volumes,” says Thomas. “We realized if we were going to keep trying to do those kinds of shows, it was time to update our system.”

After assessing system needs, the next step was defining priorities on and offstage. Ensuring a familiar artist experience was paramount: “We took it really seriously that we might be messing with that magic,’” says Thomas, who took extensive measurements to model what performers were used to hearing onstage. From the audience perspective, the goal was to provide a consistent experience in every seat, especially in under-balcony sections that suffered from limited sight lines and uneven coverage.

Then the team set about reviewing P.A. specifications from every artist who performed at the Ryman over the past five years. “Everybody has to use our P.A., so we wanted to be in 90 percent of the riders that people are asking for,” Thomas explains. “We chose the top three that people were asking for, and JBL was one of them.”

The Ryman team narrowed the field to three manufacturers, represented by three systems integrators, and invited them, along with 20 local live sound engineers, to participate in a full system shootout. “I always welcome shootouts because I think it’s so telling,” says Dan Heins, vice president of Nashville’s Clair Solutions, which facilitated the demos. “I wish it was done more often. We feel better with completely satisfied customers. You don’t want to buy a sound system of this magnitude and put it in and not be happy with it.”

“We ended up with three mono clusters hanging right off the downstage edge and the sub arrays just below,” Thomas explains. “We all walked the room and listened to all three of them over and over and over. That evening we had a bunch of members from the Opry house band come in. We got to feel it with a real band, a real drum kit and some vocalists.”

The shootout’s timing was serendipitous, as unbeknownst to the Ryman audio staff, integrators or participating engineers, JBL was getting ready to introduce the VTX A12, a compact, lightweight new double-12 loudspeaker aimed at mid- to large-scale touring applications and high-end installs.

“We got a phone call that said, ‘We have something new we want to show you. We couldn’t show you there in front of everybody else. We want to take a couple of you guys out to Northridge and show you the new product,’” says Thomas, who flew to Harman’s Los Angeles-area headquarters with Ryman production manager and audio supervisor Les Banks and Opry front-of-house engineer Kevin McGinty to audition the new JBL technology.

The audio team was won over by the A12’s clarity, cohesiveness and lack of coloration: “With a lot of our acoustic problems here, it’s all about vocal clarity and trying to get speech intelligibility up as high as possible,” says Thomas. “I feel like JBL has found that smoothness in that high midrange. We were also really impressed with the subs.”

In January 2018, teams from Harman, Clair and the Ryman took advantage of a rare break in the venue’s performance schedule to install the new system. “There was a lot of preparation with electricians coming in running conduit,” says Banks. “On that Sunday morning at 8 o’ clock, an army of people from the Clair Brothers install team and electricians came in. We had five days to get it going, and then we had a show; the first show was The Grand Ole Opry.”

The Ryman’s A12 system comprises the main P.A., subwoofers, new under-balcony P.A., front-fills and networked amplification. Stage stacks were replaced with hung arrays to clear sight lines and improve time alignment, while minimizing energy onstage.

“The under-balcony was the biggest challenge,” says Heins. “It’s a cavernous space, and it’s very steep. The geometry is unique, from what I can tell, only to the Ryman. It took several tries at it before we really developed the right solution.”

The new system takes the under-balcony from eight passive speakers with eight zones to eight micro-line arrays utilizing JBL VT4886s with time-aligned VT4883 subwoofers in an alternating left-right-left deployment. These zoned arrays have quadrupled the coverage energy for seamless sound in every seat.

“We greatly improved the under-balcony experience for clarity,” says Banks, who has mixed shows at the Ryman for nearly a quarter-century. “It’s not so much volume; it’s definitely coverage. You want everyone who bought a seat to have the same experience. That was the goal.”

The Ryman’s “new sound” is getting glowing reviews from artists, crews, staff and patrons, says Banks. And, he adds, audience compliments take on a special dimension in a town full of music professionals: “You’ve got producers, managers, agents—all critical listeners. You can’t fool them.”

Video: See how JBL VTX A12 Brings Modern Sound to Historic Ryman

Video: Hear from JBL and FOH Engineers Using VTX at the Ryman

The Swansea Arena is the latest of Ambassador Theatre Group’s (ATG) 58 operator run venues. It has been equipped with a versatile JBL VTX A8 line array system, installed by Glantre Engineering following a competitive tender issued by main contractors, Buckingham Group Contracting Ltd. Consultant on the project was Neill Woodger Acoustics and Theatre Design. Glantre’s contract as system integrator was a turnkey, covering rigging, drapes, full AV (including IPTV) and lighting, as well as the audio component—not only in the main event rooms but also the meeting rooms.

However, the recommendation for JBL’s compact line array had come from ATG’s Head of Technical Operations, Stuart Graham, who had been involved in the project from the outset four years ago. “We were able to have some influence on the design and I was able to shape the technical requirement.”

He noted the transition to JBL after another premium system had originally been specified.  “What had been proposed was a ‘safe’, medium sized system typically found in a theatre.

“But I wanted to challenge it [with this installation], I just didn’t want to keep going down the same route. This was our first UK arena and I thought we should reach and test new products. “There was a more ample budget available for the system’s design and implementation, and we wanted to focus on the scalability of the system and that it would work within every conceivable application. With that in mind, we opted for something tailored very much towards versatility and broader functionality.”

At the same time Stuart Graham was mindful that the venue had been designed not only as a multipurpose space, but with a modular auditorium, that would host a wide range of events—from theatre productions, comedy, conferences and exhibitions—some of them simultaneously. He envisaged it more than a place for different production companies to plug into, and worked closely alongside Neill Woodger to fulfil this.

It had been Woodger who had first directed Graham to Eastbourne’s Congress Theatre in order to demo the VTX A8, a venue where he and fellow consultant Sam Wise had overseen the successful JBL sound system installation in 2019.  He had wanted to hear the system not only with Swansea in mind but also other venues requiring a comprehensive system.

Stuart Graham’s verdict on first hearing the system was unequivocal. “I absolutely loved the sound of the A8 and B18 sub, and was blown away by the quality of the box. They had much more grunt and as for the usability of the system … it was easy to put up and take down.”

Graham subsequently heard the system again on the touring version of Carole King’s Beautiful, before auditioning it thoroughly at the HQ of British and Ireland distributors, Sound Technology Ltd., in Hertfordshire. But he said it was hearing the system again on Beautiful—the Carole King Musical “that signed, sealed and delivered the deal.”

Neill Woodger was happy to sign-off on the JBL solution given the technical proposals supplied and his previous experience with JBL at Congress Theatre.

In total 38 JBL VTX A8 have been rigged in their own flying frames at the Arena.

The set-up needed to be flexible as, thanks to a partition wall which closes the balcony, multiple events can be hosted simultaneously; for example, a banquet for 750 on the auditorium floor can be complemented by a seminar ongoing within the Circle, with no risk of interference or distraction. It was vital therefore that the sound system needed to be quicky reconfigurable and effective across the board.

The standard ‘full arena’ set-up is therefore two hangs each comprising 12 x A8 and 6 x B18 subs in cardioid configuration forming a conventional pros arch system. An additional 6 x B18 subs are available for ground-stacking as required. Two delay hangs each comprise of 5 x VTX A8 and 1 x VTX B18, plus four further VTX A8 as front fills, and a VTX M20 stage monitor package.

Powering the system are 15 Crown 4x3500HD amplifiers, while routing and processing is via BSS Soundweb BLU-806 and BLU-100.

The room can then be configured into conference mode, when the front rake goes in and the box angles change and reduce to eight a side; extra enclosures are then added to the delay arrays which are lowered and angled up slightly when the acoustic partition drops to divide the hall.

Matt Watt, Head of Sound Technology’s Application Team worked with ATG and Glantre on the design proposal and acoustic modelling.

“We modelled several alternative solutions before settling on the flexible A8 design.” commented Matt. “We were limited by the curtain as to where the speakers could be positioned, and the system still needed to work as delay for front of house and as the independent conference system. A8’s ease of rigging makes the reconfiguration of these areas possible as it’s so quick and easy!”

Glantre set up and optimised the entire system using JBL LAC (Line Array Calculator) and Performance Manager software, with BSS and amp config, working closely with Matt and Danny at Sound Technology’s Applications team, who were responsible for final commissioning. Glantre’s project manager and senior engineer, Tim Davies, explained, “There are a number of operating modes, both standing and seating and set up various presets as a base, with three or four different configurations.

“Essentially it’s a converged network and runs on the IT hardware, apart from the lighting.”

In addition, Glantre dipped further into the Harman portfolio, specifying AMX video switchers to manage conference events and video distribution for 4K capability projection, as well as touch screen control in other areas, including the VIP lounge.

Keith Powles Technical and Building Manager of Swansea Arena, also added favourable comment. “Now that the arena is fully operational, I have had many different opportunities to use the system in various setups and configurations within the space

“The first thing that was apparent when using the system was just how flexible and intuitive it was for the user to set up, in a broad range of different scenarios—everything from conference, comedy all the way to large scale music events.

“Sonically the system has completely blown me away. The overall quality is outstanding and a particularly surprising element for me was just how well this system performs with spoken word style performances. The clarity and precision of vocals through the system is by far one of the best I have ever used. The system alongside the venue itself seems to be a perfect combination.“

In conclusion, Stuart Graham has no doubts about the wisdom of his preference for the JBL rig, particularly noting the speed of speaker reconfiguration during fast moving event changeovers. “JBL has a rich history and I know this was the right time and place for us to make a shift over to the brand. Longer term, once the reputation of the system comes more into play, we want to be able to offer the system competitively to certain size productions who don’t need all the investment of bringing equipment in.”

The SRX900 Series was designed for professionals looking for a great sounding, scalable, small- to medium-format sound-reinforcement solution. The series combines best-in-class performance, built-in amplification, user-configurable DSP, a full suite of rigging and transport accessories and a streamlined software experience.

Drawing on flagship JBL technologies, SRX900 transducers deliver class-leading output with extremely low distortion. Sophisticated waveguides provide accurate pattern control, leading to best-in-class coverage. SRX900’s thoughtful cabinet design ensures portability, fast rigging, and durability.

The SRX900 family includes dual 6.5-inch and dual 10-inch powered line array loudspeakers and 15-inch and 18-inch powered, flyable and ground-stacked subwoofers. Whether you’re expanding your inventory or building a new system, the SRX900 Series is built as a modular system to scale to your needs, application, and budget. From DJs and bands to production companies and installations, the SRX900 Series offers the perfect balance of value and performance.

Islington’s Grade II-listed Assembly Hall has committed to an investment in its technical infrastructure, including the first UK installation of JBL’s new VTX A8 line array system at front of house.

Motivated by the experienced management team of Lucinda Brown and Technical Manager, Tom Watt, the Council-owned building, part of Islington Town Hall complex, can now build on a reputation that has seen Ed Sheeran, Rag’n’Bone Man and Snow Patrol play there in the past.

Future-proofing the installation will bring further stability to a venue which first opened back in 1929 before closing in the mid-1980s.After laying dormant for around 30 years Islington Council funded its refurbishment, and in 2010 it appeared back on the touring map.

Following a competitive tender, the Islington Assembly Hall team chose JBL’s new flagship VTX A-Series, specifically A8 and B18 elements.

The installation was undertaken by SSE Audio Group, who were also responsible for the new JBL VTX A12 installation (with VTX A8 acting as delays and front-fills) at London’s Troxy—coincidentally another Grade II-listed art deco building like the Assembly Hall. Able to use the existing infrastructure, and taking advantage of the advanced JBL rigging, they were able to hoist and align the system expediently, much to the delight of the venue.

“SSE worked hard to get the system in quickly working around events, and expedited the delivery seamlessly in the time allotted.” says Tom Watt.

They have flown L/R hangs of six VTX A8 elements per side, adding a further two as lip fills on the stage. Low frequency extension is provided by six B18 single 18” subs, with the entire system powered by four Crown I-Tech 4x3500HD four-channel amplifiers.

Ed Jackson is satisfied that the A8 concept has been proven. “My prime concerns were that we had coverage to the back of the room, which was noticeably lacking in the old PA, and achieve uniform balcony coverage. If it hadn’t worked with the shorter array we would probably have walked away.

“In terms of sound quality from the transducers this series has got the physical parts of the cabinets right to the point where we are not so reliant on DSP. The system sounds good as soon as you turn it on.”

Lucinda Brown is likewise impressed, both with the new system and the marketability it will give the venue. “We want to be the best and we can only offer that with high quality. Already people are appreciating the difference this system makes.” In addition to visiting sound engineers, this includes the venue’s own tech team, who are unanimous in their praise.

The momentum hasn’t stopped there, for Islington Assembly Hall have also just added six Martin MAC Quantum Wash lighting fixtures.

However, for now it’s all about the sound, and the last word on that goes to Tom Watt. “We now have a PA of which this fabulous building is worthy,” he declares with a smile.

The Opportunity

Organised by Pato Entertainment and the sister festival of the One Love Festival, the Good Vibes mUSIC Festival 2020 features an array of local artists, embracing the New Music as international borders were closed and setting the scene for summer reggae vibes. Wanting to elevate the event and treat fans to an unforgettable concert experience, the festival required a state-of-the-art audio system that delivered pristine sound with consistent coverage across the audience.

The Solution

To achieve its audio goals, the fesitval organizers hired New Zealand’s leading event production company, NZ Sound Reinforcement, which designed and installed a world-class HARMAN Professional networked audio solution. The impressive system features an arsenal of JBL Professional VTX A8 dual 8” compact line array loudspeakers, including a ground-stacked system as well as 12-speaker arrays flown on each side of the stage. With 110º dispersion, high-frequency transducers and JBL’s proprietary woofers and waveguide technology, VTX A8 loudspeakers deliver unmatched sound performance with even distribution across the venue.

While the venue offered acoustic challenges, NZ Sound Reinforcement overcame these obstacles with their design and deployment of more JBL VTX speakers. The system includes VTX A12 and VTX A12W dual 12” line array loudspeakers, while sub-arrays consisting of VTX G28 dual 18” and VTX B18 single 18” subwoofers offer authoritative, accurate low-frequency response. Rounding out the sound system, NZ Sound Reinforcement also deployed VTX M22 professional stage monitors, SRX835P loudspeakers and SRX828SP subwoofers. Designed and configured with JBL’s Line Array Calculator 3.5 and Performance Manager 2.7 software, the system is powered by Crown VRack 4×3500HD amplifiers.

The Impact

“We had multiple venues that demanded a specific combination of audio systems, so we used an assortment of JBL VTX loudspeakers. We also had tight SPL restrictions in most venues, whilst keeping the system sounding energetic and full, which we managed to deliver perfectly,” said Juan Soothill of NZ Sound Reinforcement. “We also had very tight load-in times, but with the easy and quick rigging of JBL’s VTX A-Series, we managed to get each system up and running extremely fast.”

“We required a high-fidelity audio solution for the festival, as we were looking to enhance the festival’s sound and provide an immersive atmosphere,” said one of the event’s organisers. “We needed a partner to set up a unique networked audio system with exceptional sound to support some of the world’s biggest artists performing at the festival, and NZ Sound Reinforcement delivered exceptional service.”

We are pleased to introduce JBL BRX300 Series modular line array systems for small to mid-size applications.

The BRX300 Series is a versatile line array for bands, DJs, rental firms, houses of worship and anyone who needs a compact, portable system that provides superior fidelity, class-leading output and consistent front-to-back coverage in a range of sound-reinforcement scenarios.

The modular BRX300 Series makes line array technology accessible to customers who are not fully-trained audio engineers, thanks to its plug-and-play simplicity, built-in amplification and corrective signal processing, smart transport system and hassle-free rigging hardware.

A JBL BRX300 Series demo system is available now in New Zealand.

For further information and to request a demo, please click on the demo button below.

The Opportunity

HU’s Art Farm | Boutique Wedding and Event Venue is situated 30 minutes from Auckland in a picturesque rural setting with majestic elevated views between Coatesville and Riverhead Forest.

The venue was conceptualised by Mrs Hu, a patron of the arts, as an international art residence for performing and visual artists, enabling collaboration and a platform to showcase their work in a custom-built gallery. When the venue is not used as a residence, the facilities are hired out for boutique weddings, corporate events, retreats and accommodation.

The wedding venue and restaurant recently underwent extensive works that included improved acoustics and an upgrade of the sound system for its wedding venue. An important part of the audio requirement was the ability to minimise noise spill from the wedding venue and observe council guidelines in the idyllic setting.

To ensure high quality sound in a controlled environment, HU’s Art Farm | Boutique Wedding and Event Venue contracted Luma Audio Visual to design a high impact sound system with sound monitoring capability.

The Solution

Luma AV engaged with JPRO to provide a unique solution of a HARMAN Professional audio system design in conjunction with SoundEar Visual Noise Solutions to meet strict council requirements of no more than 40dbA at the property boundary.

A SoundEar3-320 noise monitor was specified to provide automated reports and monitor the overall noise level produced in the venue. The SoundEar is integrated with a BSS BLU-50 processor to manage the sound system.

Luma AV selected 16x JBL Control62P pendant speakers matched with 4x Control 50ST subwoofers to achieve a full-range performance and well balanced, distributed sound to meet the SPL requirements of the venue.

System Features:

• SoundEar3-320 noise monitor provides monitoring reports in conjunction with BSS BLU-50, including automated notifications and input gain reduction. It measures and logs the SPL in the room for a period of 600 days, with data accessible via USB for reference.
• JBL Control 62P white pendant speakers provide outstanding pattern control. They are evenly distributed throughout the wedding venue, allowing for consistent volume across the floor at a lower level.
• JBL Control 50ST compact subwoofers are surface mounted to the ceiling and provide high-power low-end bass response for the system.
• The system is powered by a Crown CDi  4300BL DriveCore amplifier with built-in audio presets; it sends and receives signals digitally through HARMAN’s BLU-Link audio bus.
• A JBL EON ONE Compact portable battery powered Bluetooth loudspeaker allows for fast and easy set up of sound reinforcement for outdoor functions, canapes and can be used as a monitor wedge on stage in the venue.

The Impact

“Our primary objective was to minimise noise spill and to meet council requirements of no more than 40dbA at the boundary. This was achieved through a professional audio design, complemented by purpose-built JBL Professional audio products and acoustic absorption and dampening,” says Josh Somerville from Luma. “SoundEar provides an ingenious method to effectively control the volume in the room and meet council noise requirements! SoundEar and BSS BLU-50 work cleverly together to create a big brother approach to noise control in the room. The combination of the JBL Control50 compact surface-mount subwoofers with the Control62P pendant loudspeakers provides an amazing experience for music and speech applications in the wedding venue that must be heard to be believed. Our client is exceedingly happy with the achieved result of meeting all objectives of this project.”

“We have improved our acoustics by installing white acoustic drapes and ceiling panels, while all air gaps are acoustically insulated,” says a HU’s Art Farm spokesperson. Our new professional JBL audio system allows for easy operation by any DJ and includes Bluetooth connectivity. The array of loudspeakers deliver crisp, clear sound with no dead spots when used for music or speech. The small portable battery powered sound system is reliable to use for our outdoor functions and easy to carry to other areas where needed. We are very pleased with this project and look forward to many successful events at HU’s Art Farm | Boutique Wedding and Event Venue.”

Tech Talk

JPRO’s technical design team adds “The system at HU’s farm was designed to deliver an outstanding music performance and experience – with the control of loudness. SoundEar provides an easy solution to reduce noise levels for businesses and institutions that need to comply with regulation. The system is designed to prevent the SPL from exceeding the limit and this is achieved using a limiter in the DSP for the PA, as well as a SoundEar 320 that monitors the ambient SPL in the room. If this exceeds a pre-determined average SPL over a minute, it triggers the BLU-50 DSP to reduce the input gain of the PA, thereby controlling the overall noise reduction in the room.”

“The use of quality loudspeakers with exceptional coverage is important in achieving this result. The design specification required multiple JBL Control62P pendant speakers distributed throughout the venue at a lower SPL. Unlike conventional loudspeakers mounted on speaker stands that need to be loud at the front to reach the back (thereby introducing loudness issues), SPL from the distributed Control62P system could be lower as it produces equal loudness across the coverage area.”

Nestled in Henderson Valley in Western Auckland, Whoa! Studios is a state-of-the-art film studio and theatre specialising in live action, puppetry and miniatures. Its flagship offering is an original, world class, live show based on the characters and sets of Custard’s World – adapted for stage from a script by Bob Baker, BAFTA award winning screenwriter of Wallace & Gromit.

Whoa’s owner David Sutherland wanted to create an exciting family destination in Auckland with unforgettable live experiences. He says “It started out as an idea to do something fun for children and for families, to do something that was different to what they had engaged with before. We wanted to try and do something that was magical.”

David’s vision has resulted in a world class facility with a children’s adventure playground, a modern family restaurant and hi-tech studio and theatre facilities. In order to realise this vision and create a truly immersive experience alongside the mix of puppets, digital effects and live action from within the main stage movie set, leading world class AV technologies were needed.

World Class meant that one of New Zealand’s top integration companies, ITAV was called upon to knit together this immersive experience that would create lasting memories. Their brief was clear: sound quality, flexibility and ease of use.

Consultant and ITAV Integrator Paul Ivory had no doubts when it came to selecting his team that would partner on this project. Paul declares “I called on the best of the best in all different aspects of this project.”

Leading AV equipment supplier and specialists in Sound System and Video Distribution design JPRO were selected because of their far-reaching support, emphasis on relationship, as well as audio and product knowledge base.

AMX specialist Quentin White designed the video and switching distribution system. Projector mapping was suggested in conjunction with specialist lighting to create themes for the shows. AMX touch panels control scene changes, projectors and video monitors. This resulted in a unique part of the delivery and a main component now written into all live shows.

JPRO Sales Director and Audio Designer Paul Edlin designed the fully integrated networked audio system for the theatre and restaurant. BSS Soundweb and Soundcraft Vi3000 are an integral part of the audio distribution and essentially, the heart of the theatre system.

The primary objective was to keep as much of the Audio Signal in the digital domain as possible. Audio was passed in and out of the Vi3000 via Dante, into the BSS BLU-806 signal processor before reaching the Crown DCi Amplifiers that powered the JBL CBT-70J Array speakers and eight Zones such as the Green Room and back of stage.

Audio outputs for the live film studio and theatre were configured in 7.1 and 5.1 respectively. This was not only for a surround sound effect, but for localised sources as puppets came in from different locations around the room.

For the theatre, the first choice of speakers for Paul Ivory was always going to be the JBL CBT 70’s. “They are great for speech and music” he says, “the array of the speakers is perfect for having clear sound for the front and back end of the room; there was nothing else that came close to that decision.”

The new AKG MicroLite HC81 headworn microphones were selected as they are comfortable and lightweight to wear for the actors while the AKG wireless microphone technology used has a track record of solid reliability.

Through clever configuration and use of the Soundcraft VISI App, from an operator’s point of view the Soundcraft Vi3000 mixing console provided the central control point for all performance areas.

Paul Edlin from JPRO explains the use of the VISI integration: “Vi3000 controls all the actors and playback audio within the main theatre and on the second layer it controls audio in the second theatre.” This resulted in a cost saving of an additional mixing surface. Paul continues, “So the main theatre can be running a show and the second theatre can simultaneously run another show with audio controlled via the VISI iPad App.”

The approach to the AV design for the restaurant and mezzanine areas is equally as ingenious, with exceptional sound quality produced by the unobtrusive JBL Pendant speakers.

“You can walk throughout the café, into the parent’s area, toilets, the shop into the entrance way and the sound is all even, it is not overbearing in any area” states ITAV’s Paul Ivory.

All AV technologies such as switching on projectors and lowering screens, operating lights and adjusting volume are controlled on a touch panel system via an automated process. Third party systems control is made simple and easy to execute with Audio Architect and AMX seamlessly integrating together.

Through effective communication, simplistic AV and sound system design and leading World Class products from Harman Professional, the teams from ITAV and JPRO were able to put together a solution that will provide simplistic user operation for staff, and unforgettable live experiences for families.

David Sutherland concludes “We wanted to exceed expectations. I didn’t think it would be as good as this result – and that makes it all worthwhile.”

Local and International artists including Peking Duk, Sticky Fingers, London Elektricity, Shapeshifter, Ladi6, Tash Sultana and rapping superstar Cardi B formed part of the line-up.

In only four years, Bay Dreams has fast become one of New Zealand’s best summer festivals. The event began in 2016 with 5,000 attendees to over 30,000 in 2019 for the North Island event. A second South Island location has now been added to the itinerary in the city of Nelson.

NZ Sound Reinforcement, a full-service production company deployed a stunning JBL Professional audio solution for the second stage with a combined audio output of 500,000 watts RMS that included the innovative JBL VTX A12 and new VTX A8 line array elements.

Having recently become part of the JBL VTX A-series family in New Zealand, NZ Sound owners Ray and Brenda Ward are exceedingly happy. “We are blown away; Bay Dreams was pretty epic. The JBL VTX A12 and A8 systems have performed even beyond our expectations – they sound amazing. JBL certainly helped the artists to put on some of their best performances and the crowd loved it,” says Brenda Ward.

Ray Ward adds: “The new JBL VTX A-Series systems have provided an amazing experience for all involved, from the artists to the spectators. The systems have shown impressive coverage outdoors, providing a very smooth and natural top-end. We look forward to providing incredible sound for the summer festivals and international artists making their way to New Zealand in the coming months. We thank organisers Pato Alvarez and Mitch Lowe for putting on another sold-out masterpiece.”

System Features

NZ Sound deployed a complete JBL Professional audio system featuring 24 VTX A12 line array loudspeakers on the main hang and 18 of the all-new smaller format VTX A8 line array loudspeakers on side hangs. Due to the nature of the performances, 24 ground shaking VTX G28 subwoofers provided tight, powerful bass coverage. Infills comprised of 8 VTX F12 12” biamplified loudspeakers.

Stage monitoring was equally impressive, allowing for exceptional audio for all performers with 16 JBL VTX M20 dual 10” and 4 VTX M22 dual 12” tour monitors for DJ and drum wedges. 2 VT4883 subwoofers took care of the drum subs with side-fills consisting of 2 VTX F35 dual 15” 3-way enclosures and 2 G28 subs.

All amplification was provided by Crown V-Racks with Crown iTech 3500 amplifiers, totalling in excess of 500,000 watts of sound power. Audio System management and control were handled through JBL HiQnet Performance Manager software and system set-up made easy with JBL’s Line Array Calculator.

The Impact

“Performance Manager and Line Array Calculator has helped save time and energy as we were able to pre-configure settings and system alignment before the event,” says Tim Robertson from local JBL distributor JPRO, who provided technical support and system design for the event. “System predictions have been very accurate and minor tweaks were needed once the system was loaded in and set up.”

NZ Sound is set to bring exceptional audio coverage to the Summer Festivals and international artists such as Bryan Adams, Toto and UB40 who are making their way to New Zealand in the coming months.

At the time of writing, with the new Bay Dreams location on his mind, organiser Mitch Lowe can hardly contain himself. “This is easily the most impressive event we have ever put together, I am ecstatic. Its off to Nelson we go!”

Stage & Audio’s owner Tim Buchholz first owned a pair of JBL K140s back in the 1970s and he was blown away by the A8’s high-end performance, courtesy of the A-Series’ revolutionary new drivers and waveguide. These designs are responsible for the A-Series redefining the ‘JBL Sound’ and winning over long-term JBL fans and sceptics alike. “I have never heard clarity like that or top end that accurate in all my years working in pro audio. The level of performance is ridiculous,” enthuses Tim. “I’ve simply never heard anything like it. It’s still JBL, but noticeably more ‘European’. It’s a totally new sound.”

19 elements of JBL A8 have joined Stage & Audio’s inventory. Crown iTech HD3500 power amplifiers have also been brought in to supplement their existing racks, and the rig has just been augmented by the recent acquisition of 12 x JBL B18 Subwoofers.

The A8s have already been out working hard in their first two weeks, covering a Queen tribute band, the Rockhampton River Festival across two stages, and an awards night. “After these jobs, all our in-house engineers and guest techs that have mixed on them can talk about is the high-end performance. It’s such a step up,” adds Tim.

“Overall, the A8s have fantastic linearity,” concludes Tim. “There’s a newness to their sound, and you know every parameter and every frequency is being carefully watched over by advanced FIR filters, and compression and control algorithms. It creates and natural, sophisticated sound that is comparable to the best European touring systems on the market.”

The VTX A8 is a compact line array system available in installed and tour formats for small to medium sized venues. VTX A8 and its bigger brother VTX A12 have impressed this year during NZ’s Summer Festivals – being used extensively with touring artists and music festivals such as Toto, UB40, Slayer, KORA, Sound Splash and The Hollies.

The demo took place at the newly rebuilt Christchurch Town Hall in the exquisite James Hay Theatre.

“It’s fantastic that we are able to use venues such as the James Hay Theatre to allow audiences to get a first-hand impression of the JBL VTX A8,” comments JPRO’s Tour Sound Manager Tim Robertson. “This is a new sound from JBL and it is important for people to experience the transparent, smooth sound for themselves. I enjoyed watching everyone’s response when the system is run in full range – we had jaws dropping when we told our guests that we were not running the subs.”

“The response at James Hay from the industry has truly been overwhelming and we would like to thank everyone for attending,” says Andrew Sorrill, Customer Support and Marketing at JPRO. “We would like to get as many industry professionals in New Zealand as possible to experience the system for themselves. If you have not recently heard the new JBL VTX A Series, I encourage you to get in front of a system – please contact us and we will arrange for you to hear one.”

Production company NZ Sound provided the audio for the event that featured Pendulum and Home Brew as some of the headline acts. The main PA system consisted of JBL Professional’s latest line array system, the VTX A12.

“It was my first time mixing on the VTX A12 system by JBL. As soon as we turned the system on, I was blown away. Detailed and crisp high end, beautiful mid-range and deep, defined lows,” says Pendulum’s FOH Engineer Owen Charles. “The system threw an extremely long way back and I was more than happy with the coverage.”

The main PA system featured a total of 24 JBL VTX A12 line array elements, with a ground shaking 18 JBL VTX G28 subwoofers. 4 Vertec 4888 were used as front fills and a number of JBL VTX M22 and M20 tour wedges were used for stage monitoring.

“Definitely my PA of the Day,” quips Tim Robertson, Tour Sound Manager for JPRO the NZ distributor for JBL Professional. “We are proud to have supported an event such as Ohakune with JBL VTX A12. “The system continues to impress locally and our aim is to have it added to more technical riders in the NZ market.”

All loudspeakers were powered by Crown V-Racks, which included I-Tech 12000HD and I-Tech 4x3500HD amplifiers, while system management and control were handled with JBL HiQnet Performance Manager software.

Featuring BSS OMNIDRIVEHD processing with linear phase FIR filters and the acclaimed LevelMAX Limiter Suite, both models provide crystal-clear amplification with ample headroom. Network connectivity via HiQnet and Ethernet protocols provides a high degree of control and real-time diagnostics.

The Impact

Owen Charles who currently mixes for Yungblud & Pendulum, has previously mixed audio for international artists such as Macy Gray, D’angelo, MF DOOM and Jay Electronica, adds: “When I was mixing on the Waves LV1 console, the JBL VTX A12 translated perfectly – what the artist and I were hearing in the studio during pre-production came out better than we could have hoped for on the day. Let’s just say the JBL VTX A12 line array and A-Series line array systems are now going straight on my rider.”

Event Production has always been Forge’s passion – delivering clean sound, crisp images and purposeful lighting. Their aim is to provide exceptional technical service for customers looking at making their event memorable.

After conducting numerous tests with various brands, the Vi3000 was chosen because of its straightforward, analogue-like design that allows instant responses for operators, superb audio quality as well as its road-proven reliability. Featuring four Vistonics II touchscreens, built-in Dante capability and iconic Lexicon effects, the Soundcraft Vi3000 is a top choice for live sound engineers around the world.

JPRO is the official supplier of Soundcraft Vi Digital Consoles in NZ.