Roland Launches DJ-202 + DJ-505 Serato DJ Controllers

It's been about one year since Roland came out swinging into the DJ controller space with their DJ-808 controller. Today they're launching two new controllers to round out the lineup. The DJ-202 is a two channel Serato Intro controller, while the DJ-505 aims to be a two-channel version of the DJ-808. More details inside!

The post Roland Launches DJ-202 + DJ-505 Serato DJ Controllers appeared first on DJ TechTools.

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Broadcast Profile: Willow Creek Community Church

Broadcast Profile: Willow Creek Community Church

US megachurch Willow Creek now has a new broadcast studio, bringing high levels of control for its sermons and live performances that are streamed to thousands each week. We find out why this was a move that made sense.

Not just one of the largest houses of worship in the USA, Willow Creek Community Church near Chicago is also extremely well equipped in the audio department.

With an AV offering that makes European equivalents look prehistoric in comparison, Willow Creek has been taking its mission to bring high quality audio to its followers very seriously, but until recently there was still one important area that needed to be addressed.

The audience figures associated with Willow Creek’s main South Barrington campus are impressive – its main auditorium seats 7,200, but for those who can’t make it in person for one of its three weekend services, the Church broadcasts a live stream that averages between 15,000 and 20,000 viewers.

But then there’s the special two-day Global Leadership Summit event each August that really pulls the numbers in – approximately 100,000 tune in live at more than 600 satellite locations nationwide and around 200,000 when it’s rebroadcast. The previous setup consisted of an automated broadcast mix that could not be easily adjusted or set to offset the choices being made in the live room, which is why Willow Creek felt that the time was right for an upgrade that would give the team full control over the broadcast mix and access to the campus’ existing Dante audio network.

Willow Creek’s audio systems engineer Matt Wentz is excited about having a setup that remedies the previous setup’s limitations. “We were broadcasting to all these sites and they wanted more/less music, they’re saying ‘we can’t hear these vocals because they’re mixing for the room’ and so that was what was going out – the mix for the room – and decisions were being made [only] there,” he explains.

“So now with the broadcast console we can have more finite control when we’re thinking ‘OK, the room wants the vocals buried while on broadcast we’re going to make sure the vocals are out front’ etc. The decisions that can be made for the broadcast side – we have a lot more control about how that sounds as oppose to [just] what the room sounds like.”

The outgoing system was often unmanned, but the new arrangement will always have an engineer, benefiting from individual channels of all instruments, as well as video playback and speaker mics.

The console selected was a Yamaha CL5 supported by ten Dante-MY16-AUD2 cards and three RSio64-D interfaces. The broadcast room also now features various Genelec monitors, a DBMax Level Maximizer and Clarity M loudness meter from TC Electronic and BSS Soundweb London BLU-806 signal processor.

Across the board

When asked why they opted for the CL5, Wentz was quick to answer. “It’s reliable, we’ve never really had a major issue and we’ve got Yamaha in all of our venues, all the way from the TF Series through the LS9, QL, CL and now the PM10,” he notes. “It’s easy to train somebody on it – outside of our main room most of our rooms are run by volunteers and so it’s so easy to get somebody up and show them ‘here’s how you get signal going and routed out’. The learning curve is not large and when moving to the PM10 [now at FOH and Monitors in the main auditorium] it’s very similar to the CL Series.

“Because the main room is the Yamaha PM10s running at 96kHz, we needed to get everything down to 48kHz which required the RSios and the ability to do SRC (Sample Rate Conversion). We also invested heavily in Waves to allow the engineer to mimic closer the sound of the PM10 and to also have auto-tune, which is not currently inline in the main room.”

Wentz is a staunch backer of Audinate’s Dante networking protocol, without which the current levels of interconnectivity across the South Barrington site simply wouldn’t be possible.

“When I was first introduced to it about four years ago my mind went to the unlimited possibilities,” he recalls. “I thought that if the creative team here said ‘hey we want to start in one venue and move to another’ – which has happened before, and it’s been limited because it was copper, patch bays, you introduce ground hum and all sorts of other issues – now I can say ‘yep, we can absolutely do that’ because I can route networked audio from this venue to this venue and it’s seamless, it’s clean and it just works.”

This all goes to show that Willow Creek is not your typical house of worship with ageing gear crying out to be replaced. It’s certainly a great example of an organisation that considers the AV needs of its members a top priority, with a kit list that wouldn’t look out of a place in a major performance venue elsewhere. With more work scheduled to bring some of its smaller rooms up to date in the near future, there’s more to come too.

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Third Martin Audio CDD install for Lee Valley Olympic facilities

Third Martin Audio CDD install for Lee Valley Olympic facilities

Old Barn Audio has completed its third Martin Audio CDD installation within Olympic class venues owned and operated by the Lee Valley Regional Park Authority (LVRPA).

Following successful projects at the Lee Valley White Water Centre and Lee Valley Ice Centre, a challenging installation has now been completed at Lee Valley Athletics Centre in Edmonton.

This required the company to install a 30 metre long roof truss section down the middle of the 200m six-lane oval track, six and a half metres up in the air, to support over half a tonne of Martin Audio’s CDD 12, CDD 10 and CSX subwoofers.

Built ten years ago at a cost of £15m, the Centre plays host to a wide range of athletes, and by boasting 4,000 admissions a week, it is the busiest indoor athletics facility in the UK. Project manager Neil Kavanagh’s solution was to specify largely CDD12, enabling the CSX 118 sub to take care of the lower frequencies, as he knew this would not only provide the level of speech intelligibility required for commentary and handle background music during daytime training, but also have sufficient power to handle small concerts.

Kavanagh’s first challenge was how to tackle the acoustics of an inherently ‘live’ cantilevered venue, while at the same time integrating the pre-existing sound system. He specified 10 x CDD12, two CDD 10 and four CSX 118, ensuring that the subs fired down at the rubber floor, which would provide absorption, while the full range boxes were arrayed and directed at the 500 raked seat stand on one side of the oval (avoiding the facing wall entirely).

The internally wired truss itself is suspended from four points, with two tonne weight-loading and safety bonds at each end, while the speakers themselves are fixed using half couplers and are safety bonded. The installation required 200m of single 19-core cable running back to the power room and 400m of additional speaker cable on the truss.

“What I really like about the CDD series is the accuracy of dispersion - it has been designed to offer a lot of sound within the budget,” said Kavanagh. “Not only that, but the inherent coaxial speaker technology offers power coupled with a sonic performance that is unrivalled for the price.

“Now that the Lottery Funding has finished and venues built for the London Olympics need to stand on their own two feet, a powerful sound system such as this is a wise investment,” he concluded.

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VIDEO: Rock City Studios opts for new Renkus-Heinz PA

VIDEO: Rock City Studios opts for new Renkus-Heinz PA

Rock City Studios in Ventura County, California has replaced the dated PA in its main room with a new Renkus-Heinz system to support shows by national and local acts.

The live music venue, recording studio and music school is very much a community-oriented space, which often records and videotapes local bands' live performances.

After general manager Brett DeCarlo and FOH engineer Mike Brown attended the Winter NAMM show in Anaheim in search of a solution, the pair opted for the company’s CFX101LA modular point-source array.

"This is an interesting room, and it's gone through many iterations," said Brown. "The fundamental problem we had was that the previous PA system was a traditional point-source array. We had a sweet spot in the middle of the floor but if you wandered too far front or back, you got out of that sweet spot.”

The Rock City team visited Renkus-Heinz' NAMM booth, and the manufacturer put them in touch with Jeff Miranda at Pacific AV. "Jeff did a phenomenal job," Brown remarked. "He immediately steered us toward the Renkus-Heinz CFX101LA modular point-source array, and he built a PA with it that sounded so fantastic, we were immediately sold."

With the flexibility to be flown, ground-stacked, or pole-mounted, the CFX101LA combines the performance and pattern control of a line array with the clarity of a point-source system in a compact design. Rock City's system employs two CFX101LAs, while a pair of Renkus-Heinz CFX15S 15-inch high-performance subwoofers, mounted above the arrays, generate the low-end the venue required.

"With the previous system, the sound was too muddy, and we didn't have that huge feeling, what I call the 'heart punch,' when you feel it in your chest," said DeCarlo. "With the CFX system, it's a night-and-day difference. The stereo image is a lot wider. The clarity, especially in the high end, is there. The low end, too; you get that heart punch, that kick in your stomach that we'd been missing. We're at a level of completion now."

"The CFX101s allowed me to adjust the angles so I've got fantastic coverage from the front of the venue all the way to the back," Brown added. "We do everything here from punk rock to praise bands, and everyone who comes through comments on how great this venue sounds. We've attracted more national acts, and the kids are amazed at the quality of the sound that they get. With the Renkus-Heinz system, we can meet some of the rider requirements for the bigger name acts that look for places to play outside of L.A. Now this truly is a professional venue."

Find out how Rock City Studios achieved its audio goals with Renkus-Heinz in the video below:

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Pro Sound Awards: Last chance to submit Rising Star nominations

Pro Sound Awards: Last chance to submit Rising Star nominations

Audio Media International has announced the last call to receive entries for its Rising Star accolade at the 2017 Pro Sound Awards, as the hunt for the next pro audio up-and-comer continues.

The Rising Star Award, which is chosen every year by the AMI team from a shortlist of entries, is one of the highlights of the annual event, which will take place at London's Steel Yard for the first time this year on Thursday 28 September after four years at Ministry of Sound.

Therefore, we're looking to hear from as many of the industry's top up-and-comers – and potential contenders for the prestigious prize – as possible.

So if you're a young audio professional that can demonstrate you have a bright future ahead of you, or if you know of one that you'd like to nominate for the Award, then we want to hear from you.

Later this summer, AMI will begin publishing a series of Q&A profile articles on the nominees that catch our eye before revealing the final shortlist as the event approaches.

The overall winner will be announced live on stage at the Pro Sound Awards ceremony in September.

Anyone aged 30 or under or with two years or less of industry experience currently working within the world of pro audio – engineers, producers, technicians, sound designers etc. – is eligible for inclusion. Entries can either come from somebody wishing to nominate a colleague, apprentice or assistant, or from the individuals themselves.

So if you think you deserve to be included, or if you know someone who does, send a short 'pitch' to AMI senior staff writer Colby Ramsey ( explaining why you, or the person you have in mind, should be considered. Please provide as much information as possible on the person's recent projects and past achievements, as this will increase their chances of being selected.

Those wishing to submit nominations have until midnight tonight (Monday 14 August) to do so.

For more information on the Pro Sound Awards, including the full list of categories, see the event website below.

Tickets are available for just £58pp (plus VAT), and can also be purchased through the Awards site.

Picture: Last year's Rising Star Award winner George Murphy, recording engineer at Eastcote Studios.

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