HARMAN Professional Solutions, a global leader in audio, video, control, and lighting systems, has announced the release of its new AKG C-Series professional condenser microphones – designed to deliver elevated sound performance for today’s generation of content creators.

Drawing on decades of acoustic innovation, the C-Series offers exceptional clarity and captures every detail, whether recording vocals, speech, instruments or other sound sources.

Developed for musicians, podcasters, YouTubers, and streamers, the C104, C114, and C151 models provide the signature detail and clarity AKG is known for, helping turn performances and interviews into engaging, polished productions. A wide frequency response ensures the full richness of every sonic element is accurately reproduced.

“When we set out to create the new AKG C-Series microphones, our goal was simple: let’s design a mic that creators would reach for every day – not just because it sounds incredible, but because it makes the process easier, smoother, and more inspiring,” said Philip Feinman, Product Manager, Recording and Broadcast, HARMAN Professional Solutions. “By listening closely to the needs of musicians and content creators, we’ve delivered a microphone range that naturally supports the creative process.”

“AKG has a rich legacy of design innovation for microphones, headphones, and audio solutions,” added Chris Hansen, Director, Recording and Broadcast, HARMAN Professional Solutions. “Our passion to lead helps the creation of world-class products for our customers, partners, and the global creative community.”

Whether upgrading an existing setup or building a new creative space, the AKG C-Series microphones combine professional performance with user-friendly operation, setting a new standard for cost-effective, professional-grade audio capture that enhances every stage of the creative journey.

FEATURE HIGHLIGHTS:

PROFESSIONAL SOUND QUALITY
The new AKG C-Series microphones deliver wide dynamic range and ultra-low noise performance for audio clarity and definition. You can count on world-class audio fidelity, based on AKG’s legacy of innovative designs for microphones and audio products.

SIMPLIFIED OPERATION
Designed for instant creativity, the new AKG C-Series microphones are extremely easy to set up and use – simply plug in and start capturing. The user-friendly design makes these microphones perfect for content creators who demand ease-of-use without sacrificing professional-grade sound.

FLEXIBLE RECORDING OPTIONS
Featuring cardioid and multi-pattern designs, the new AKG C-Series microphones are easily adaptable to any audio environment. This flexible functionality supports professional grade audio capture of vocals, speech, instruments and other sound sources.

SUSTAINABILITY
The new AKG C-Series microphones are thoughtfully designed and engineered to enhance sustainability. The microphone bodies are made from 100% recycled PIR metal, and the accessories are designed with sustainability as a key priority. The packaging is engineered for minimal environmental impact and is fully recyclable.

C-SERIES MODELS AND SPECIFICATIONS:

• AKG C104 Large Diaphragm Condenser Microphone
• AKG C114 Multi-Pattern Condenser Microphone
• AKG C151 Small Diaphragm Condenser Microphone
• AKG Professional Microphone Portfolio

AKG C-Series is now available in New Zealand!
The new AKG C-Series is now available locally for purchase or demo. Please contact JPRO to arrange a demonstration.

HARMAN Professional Solutions, a global leader in audio, video, control, and lighting systems, has announced the expansion of its JBL Professional SRX900 Series of powered scalable loudspeaker systems. The expansion includes 12-inch, 15-inch, and dual 12-inch point-source loudspeakers and a full range of supporting accessories. These models offer enhanced versatility, expanded deployment choices, and unprecedented integration across touring, rental, installation, and production environments.

Designed for a wide range of applications, the new SRX912M is an exceptionally compact, multi-purpose, two-way 12-inch powered loudspeaker that delivers remarkably high output for its size. It is ideal as a low-profile stage monitor, main PA, or front fill.

Optimally suited for use as a main PA or as a high-performance stage monitor, the new SRX915M is a high-output, multi-purpose, two-way 15-inch powered loudspeaker designed for applications that require greater low-frequency extension and increased headroom.

For applications requiring high output and precise directivity control, the new SRX922 is a compact, acoustically three-way, dual 12-inch powered point-source loudspeaker featuring a trapezoidal full-range enclosure. It is an ideal choice for high-output mains systems, side-fills, or as a high-performance point-source element within larger SRX900 deployments.

To ensure a completely modular platform that scales seamlessly, the new SRX900 models share consistent voicing, amplification, and DSP, and use common rigging and accessory options. A unified software platform ties the system together, creating a seamless, integrated ecosystem.

SRX900 SERIES HIGHLIGHTS

COMPLETE ECOSYSTEM
The SRX900 Series supports a wide range of use cases and includes line arrays, point-source models, and flyable or ground-stacked subwoofers. All models share consistent voicing, amplification and DSP, common rigging and accessory options, and a unified software platform that ties the system together.

SOUND QUALITY COMES FIRST
Drawing on transducer technologies developed for JBL’s flagship touring systems, SRX900 delivers clean, detailed sound typically associated with top-tier touring systems. SRX900 woofers are built on JBL’s proprietary Differential Drive dual-voice-coil, dual-gap design.

DIRECTIVITY CONTROL
Directivity has been in JBL Professional’s DNA for decades, with the company pioneering numerous technologies to perfect the science of controlling sound. A system that sounds great at front of house is good, but one that delivers excellent sound throughout the entire venue is truly exceptional.

SOPHISTICATED DSP
SRX900 models include a powerful DSP that provides all the tools needed to optimize and tune a system, including 24-band parametric EQ and 2,000 ms of delay. JBL’s proprietary Array Size Compensation (ASC) filter corrects for the tonal effects of different array sizes.

MAXIMUM PROTECTION
SRX900 incorporates JBL’s advanced LevelMax limiter suite, co-developed with Crown engineers for Crown’s I-Tech HD touring amplifiers. The result is consistent, reliable performance even under the most demanding operating conditions.

FUTURE-PROOF NETWORKING
SRX900 supports HARMAN’s HControl Ethernet protocol, which streamlines network setup and removes the need for complex IP addressing. And because HControl is built on standard networking protocols, systems can integrate cost-effective, off-the-shelf hardware such as Ethernet switches and Wi-Fi access points.

COMPLETE SOFTWARE ECOSYSTEM
SRX900’s robust software ecosystem integrates three powerful tools: JBL Venue Synthesis for 3D acoustic simulation, JBL Performance for system management, and ArrayLink for on-site deployment and configuration. Together, they offer a cohesive and efficient system control experience.

OPTIMUM POWERED PERFORMANCE
SRX900 products are self-powered, eliminating the need for external amplifiers and complicated amplifier racks. The powered architecture enables true plug-and-play operation, with products delivering consistent, great-sounding results right out of the box.

FAST, SAFE, EASY RIGGING
SRX900 Series line arrays feature a three-point rigging system, making suspending systems safe and easy, regardless of system size or user experience level. Point-source products include multiple QuickLink™ M10 attachment points for use with eyebolts and to attach to the comprehensive set of dedicated accessories.

PROFESSIONAL BUILD QUALITY, INSIDE AND OUT
SRX900 Series line arrays use reinforced composite enclosures, while the point-source models and subwoofers feature durable plywood cabinets. As with all JBL professional products, SRX900 models undergo rigorous testing, are built to last, and are backed by a comprehensive 5-year warranty.

ADDITIONAL DETAILS

For complete details and specifications, please visit:

• SRX912M – 12-inch Powered Multi-purpose Speaker
• SRX915M – 15-inch Powered Multi-purpose Speaker
• SRX922 – Dual 12-inch Powered Point-source Speaker
• SRX900 Series – Family of Powered Scalable Solutions

Located in Takapuna on Auckland’s North Shore, the Bruce Mason Centre is one of the region’s premier venues for the performing arts, offering a diverse range of events.

With a seating capacity of over 1,100, it features tiered seating that can be reconfigured into an open-floor space for gala dinners or cocktail receptions, hosting everything from family entertainment and dance performances to live music and comedy shows.

After 20 years of operation, the theatre’s previous system was no longer sufficient to meet the demands of the venue’s evolving event schedule, prompting the decision to upgrade. After careful evaluation, a JBL VTX A6 system was chosen for its compact yet powerful format and flexible rigging system, which simplifies speaker repositioning due to the A Series’ industry-leading design.

The two-year upgrade, delivered by JPRO in consultation with the Auckland Live technical team, included installing new Crown I-Tech 43500HD amplifiers, under balcony fills and rewiring the entire system.

The array design and performance predictions were carried out using JBL’s Venue Synthesis 3D Acoustic Simulation software.

“The platform enables precise angle prediction, system tuning and delay time optimisation for each loudspeaker position,” says Tim Robertson, Tour Sound Manager with JBL Professional distributor JPRO. “It is remarkably accurate compared to real-world performance, significantly streamlining live tuning and system commissioning.”

The upgraded system now includes two flown arrays, each consisting of 12 x VTX A6 dual 6-inch line array elements. Using JBL’s ArrayLink mobile app which integrates seamlessly with the Venue Synthesis 3D Acoustic Simulation software, JPRO developed six system presets to streamline deployment. With the combination of ArrayLink and the VTX A Series’ quick-rigging system, the arrays can be scaled, repositioned and ready to operate in under 30 minutes, depending on event requirements.

Twelve VTX B18 arrayable 18-inch subwoofers are deployed in a cardioid configuration and can be either flown or ground stacked. For under-balcony coverage, eight JBL AC18 high-performance compact loudspeakers are discreetly positioned. The system is powered by Crown I-Tech 43500HD amplifiers, with audio management handled by BSS BLU-806 networked signal processors.

“The VTX rigging system delivers the flexibility and performance the venue needs for its varied event schedule,” said Lindsay Clements from the Bruce Mason Centre technical team. “The sound is really clean and holds up beautifully across different instruments and sources.”

When Taieri Musical staged Jesus Christ Superstar at Dunedin’s Regent Theatre, it wasn’t just the award-winning cast and crew who delivered a showstopper. Behind the scenes, a full JBL Professional sound system powered the rock opera with clarity, impact and energy fit for one of New Zealand’s grandest stages.

The Regent Theatre, with its ornate baroque-revival interior and 1600 seats is a landmark in its own right. But for sound engineers, its scale and architecture present a serious challenge. How do you make sure every audience member from the front row to the circle under the balcony, hears every word and every note with the same intensity?

That task fell to the team from Strawberry who supplied the sound equipment, with system engineering led by Dave Bennet. “In a theatre like the Regent the challenge is covering all the seats while staying out of the sightlines,” Bennet explains. “You can’t just hang giant speaker arrays in front of the stage and those beautiful views. Instead we used a mix of flown and ground-stacked arrays, discreet under-balcony fills and a few spot fills for the tricky areas.”

The main left and right arrays consisted of three VTX B18 subs with four VTX A8s per side, ground-stacked neatly beneath the proscenium to avoid sightline issues. Additional hangs of four VTX A8s per side covered the circle, while a centre cluster of eight Vertec VT4886s was dedicated to vocals.

Six AC25s provided under-balcony vocal coverage, suspended discreetly from the circle’s front lighting rail, while SRX712s were called in for difficult pockets of coverage and as stage foldback. Everything ran from Crown I-Tech 4×3500 amplifiers, with JBL Performance Manager providing system control and tuning.

“Right from the outset we knew we had to use a distributed system. The VTX A8’s consistent acoustic performance across its 110-degree horizontal coverage helps a lot when you’re pushed into the corners and planning the fills in advance was key,” Bennet continues. “We had four different generations of loudspeakers managed under one platform showing how handy Performance Manager is. It’s been a great tool for deployment, tuning and monitoring.”

Sound designer and mixer Tom Acklin of Crossfade shaped the production’s audio night after night, balancing the rock band with the vocals that drive the story forward. For him, the JBL rig brought both power and finesse.

“Sound design for a rock musical like Jesus Christ Superstar comes with many challenges and trade-offs, but the JBL range makes it elegant,” Acklin says. “The VTX A8 handling the band content is the heart of the system. It ticks many boxes for me as a sound designer, full-range frequency response down to 60Hz, compact size to avoid those sightline issues and a wide 110-degree dispersion that’s perfect for this venue.”

Acklin emphasises the mix of cabinets as a strength, ensuring every seat receives the same experience. “The VT4886 centre hang carries the vocals, if you’re under the balcony the AC25s are the real star. It’s all about making sure the story reaches everyone, no matter where they’re sitting.”

For a production as bold and timeless as Jesus Christ Superstar, sound is as central to the experience as the staging or choreography. Both Bennet and Acklin agree the Regent Theatre production demonstrated how well the JBL VTX A Series adapts to challenging live theatre environments.

“The key takeaway is that the A8s are at home in this kind of deployment,” Bennet concludes. “From their wide coverage to their impressive low-end output even in small numbers, they’re an excellent choice for a musical show that needs big energy in a compact package.”

Taieri College’s Performing Arts Centre was due for a transformation. The existing speech reinforcement system was no longer meeting the growing demands of the space, especially as the school’s creative programmes and events expanded. From high-energy music performances to full-scale productions and community events, the venue needed a system that could keep pace.

To bridge the gap, Strawberry Sound’s hire department had been regularly supplying temporary sound systems to accommodate performances such as Rockquest, school productions and other large-scale events. While effective in the short term, this approach was time-consuming and limited the College’s ability to fully utilise their venue’s potential.

“The big focus for us is on music and drama and we needed a versatile sound system that would cope with high-performance music and bands,” says Lyndon Jones, Assistant Principal at Taieri College. “Our previous system was not capable of handling this.”

Recognising the need for a future-proof solution Taieri College once again approached Strawberry Sound, this time to design and install a permanent, high-performance audio system that could meet the needs of both school and external users. The brief was clear: the system had to deliver concert-quality sound, be flexible enough for a wide range of events and remain easy to operate for students and third-party vendors alike.

Strawberry Sound specified the JBL SRX900 Series powered line array system which would be compact, scalable and well-suited to the acoustics and structural limitations of the space.

“We selected the smaller JBL SRX906 line array element for its compact size, lightweight design, exceptional sound quality and ease of rigging,” said Dave Bennett, Senior Sound Technician Strawberry. “The precise array angle control from each cabinet allowed for a fast and accurate setup. Best of all, no major structural modifications were required—we were able to use the existing rigging points to deploy the system efficiently.”

Strawberry specified 12x SRX906LA dual 6.5-inch powered line array loudspeakers, flown six per side, along with 2x SRX918S 18-inch powered subwoofers.

Setup, configuration and tuning were handled using JBL’s SRX900 Performance software, offering the same workflow and feature set found in Performance Manager for the company’s flagship VTX systems.

“Once the system was installed, only minimal fine-tuning was needed. The SRX906 line arrays sound excellent straight out of the box, with consistent tonal quality throughout the space,” said Dave Bennett. “The Performance software was intuitive and accurate, everything just worked as it should in a real-world environment.”

The final installation also included improvements to the lighting control and a reorganisation of AV racks for greater clarity and usability. The venue facilities fully equipped to host a wide range of performances, both for the College and venue hire.

“The SRX906 installation was straightforward and hassle-free. It’s a fantastic little product that delivers impressive performance for its size,” Dave Bennett added. “The rigging system is awesome! Quick to deploy, with precise angle adjustments and secure locking mechanisms that make it easy to achieve optimal coverage. JBL has clearly streamlined its line array portfolio, offering a consistent and intuitive rigging experience across the range. The flexibility and ease of assembling the system made the entire process painless.”

Leadership are impressed with their robust JBL SRX900 professional-grade sound system. Taieri College’s Performing Arts Centre is now fully equipped to host a diverse range of performances, from school productions to community events.

“Now we have something that not only benefits the College but will be a great asset for Dunedin as well,” enthused Lyndon Jones. “It’s a great venue with concert-quality sound – and it’s now available for hire!”

“The auditorium and AV equipment were damaged during the Auckland floods. For this upgrade, our goal was to have improved sound quality and coverage throughout the space,” said Tommy Lam, Technical Coordinator at NZCCC. “After careful consultation and research, we decided that line array technology would provide the best solution to meet our needs.”

Recognising that clear, direct sound plays a vital role in worship and community gatherings, the team carefully evaluated their options to ensure the new system would elevate the overall experience for attendees.

“We found that the JBL SRX900 provided the best performance in our setting, delivering well-balanced sound from soft speech to louder music content.” Tommy explained. “The added value and support we received from local distributor JPRO helped solidify our decision to go with JBL. Thanks to proactive and effective communication with the team, we successfully integrated the AV installation into the construction phase, which helped shorten the overall timeline.”

The Solution

The system includes 8x JBL SRX906 dual 6.5-inch powered line array elements flown full-range in a left-right configuration, ensuring even sound distribution in the auditorium. Designing the system layout in JBL’s Venue Synthesis Software and utilising the intuitive SRX900 rigging hardware allowed for a straightforward installation experience by integrators Cable and Wireless, while the built-in DSP and amplification ensured optimal performance. System control and monitoring is achieved through the JBL Performance software application.

A Soundcraft Si Impact digital mixing console provides a flexible, user-friendly solution for mixing sound in the church. With onboard signal processing, the Si Impact is capable of handling everything from the spoken word to a full band, with future-proof capabilities for expansion.

For on-stage sound monitoring, JBL PRX912 powered 12″ loudspeakers deliver high-quality audio, ensuring the musicians and vocalists can hear clearly. AKG microphones are integrated into the system through a Soundcraft MSB16i Mini Stagebox, which connects to the Si Impact console via a CAT5 cable.

Video source switching to projectors is managed by an AMX PR-0404 Precis matrix switcher, with video signal transport using AMX DXLINK transmitters, ensuring smooth and reliable video delivery.

The Impact

“We’re really pleased with our new AV system – the JBL SRX900 has been a game changer for us,” said Tommy Lam. “The clarity and consistency of sound has really enhanced the overall experience for our congregation. Church members have noticed a significant improvement in the sound and visuals”

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

INTERACTIVE AV SHOWROOM  |  HOME THEATRE SHOWROOM | DEMO FORM

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!

Book Your Personalised Demo Today! | Get in touch with the JPRO team →

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 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.

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.”

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.”