2004 News Articles

XTA Provides Uncompromising Control At The Aladdin Theatre
The Aladdin Theater of the Performing Arts in Las Vegas has added one more XTA DP226 Speaker Management System to what is one of the largest theaters and sound system installations in an enclosed proscenium venue in the U.S. The Theater, which opened in time for the newly expanded Aladdin’s 2003 New Year’s performance, seats 7,000 between its main floor and balcony — more than the renowned Universal Amphitheater in Los Angeles or the famed Radio City Music Hall in Manhattan.

The massive V-DOSC speaker and amplifier system, which was designed and installed by A1 Entertainment Services, Inc. of Las Vegas, features consistently reliable and accurate zone control imparted by the XTA DP226 units.

“They’re well-designed linchpins of what is a magnificent sound system in a magnificent theater,” observes Al Siniscal, Sound Designer for A1 Entertainment Services, and an electrical engineer registered in both Nevada and California. Siniscal implemented the DP226 units as the controllers for the various audio zone systems in the Aladdin Theater.

These areas include the main and distant left, center, and right speaker clusters, front fill, dressing rooms, and other backstage feeds. The most recent DP226 purchase provides the Aladdin Theater’s seven existing DP226’s with a backup as well as the means to expand the system, if necessary.

While the DP226 performs as a top-notch system controller, its high degree of programmability and flexibility offers another, equally critical function for this system design. Siniscal has programmed the DP226 to interface with the Aladdin’s complex and sophisticated fire control system. Should the need arise, once the appropriate signal is generated by the fire control system, the DP226 units will automatically either attenuate or shut off the audio system’s output level, assuring that patrons can hear safety officials’ instructions.

“It’s a very elegant and beautiful sound system, one which nicely complements the facility that it’s in,” says Siniscal. “Elegance in system design and execution is something we strive for, and the DP226 goes a long way towards helping us achieve that.”

XTA and Skan the Perfect Combination for Feeder
Rock band, Feeder, completed their 2003 tour of Europe, Japan and the U.S., on home ground with their final date at the Millenium Stadium in Cardiff, supporting the Stereophonics. Throughout the tour, Reading based Skan PA Hire supplied a substantial sound system, including an array of XTA signal processing equipment to keep things sounding sweet.

Skan’s PA Technician, Scott Essen, was there every step of the way: “Feeder’s FOH engineer, David Hills AKA Magnus had tried out the G2s and C2s at Glastonbury and thought they were great, so he spec’d them for the tour. We were using the G2 on drums as a standard gate, which Magnus found suited his style very well, and C2 for compression on general samples and keyboards.

“We also used DP224 and DP226s for system control of the PA and monitors via AudioCore. The 226s are great – they sound good, and are easy to use. We also used GQ600s on monitors as they are exceptionally reliable and give a balanced input and therefore a healthier signal path.”

In addition, SiDDs were used as gates and comps for Aqualung, who supported Feeder on all dates. Abby Llewellyn of Skan commented: “We’re always confident about using XTA equipment and Chris Hinds of beyerdynamic, XTA’s UK distributor, was extremely helpful in fulfilling our requirements in advance of the tour.”

XTA Helps Ol’ Blue Eyes Keep On Doing It His Way
On October 10th, Radio City Music Hall will debut the remarkable Sinatra: His Voice. His World. His Way. — a multimedia presentation featuring rediscovered film and video footage of the late American musical legend, as well as performances by other legendary Sinatra contemporaries, synchronized with a 40-piece live orchestra, dancers, and stunning visual effects. A massive new PA system was installed at Radio City for the event, which will be completely and reliably controlled using the acclaimed XTA DP226 Speaker Management System.

In Sinatra: His Voice. His World. His Way. Sinatra’s music is introduced by rarely seen footage from Frank’s home movies and films, as well as short video sound bytes in which celebrities recount Sinatra’s life and prominent role in musical history. These interludes put the beloved tunes into the historical, social, and emotional context of his life. As befitting Sinatra’s place in the world’s musical pantheon, Radio City systems designer Dan Gerhard created a sound system that can capture the nuances of Sinatra’s performances and bring the prerecorded portions of the presentation into the digital era.

ProMix/Electrotec, a division of PRG and one of the premiere providers of audio technology to the theatrical industry, delivered a total of 10 XTA DP226 digital speaker system controllers. The DP226 units manage a huge PA system designed specifically for this presentation, including 16 JBL VT4888 speakers hung in a center cluster to complement the video screen, as well as left and right speaker stacks consisting of 32 JBL VT4889 speakers.

“It’s a pretty amazing system for what is going to be an exceptional show,” comments Bob Rendon, Vice President of ProMix/Electrotec. “Dan Gerhard has designed an elegant system for the sound, and the multimedia approach to this will make a memorable show. It was Dan who specified the XTA DP226 for this project, and that reflects the kind of confidence we’ve seen from many theatrical clients in the DP226’s performance. It provides everything they’re looking for in a digital speaker control system, and more.”

ProMix/Electrotec will also be providing numerous XTA DP226 units for Radio City’s renowned Christmas Spectacular, with additional road show versions using JBL VerTec and L-Acoustics V-DOSC sound systems controlled by the DP226. “As a rental company, we’re designer-driven,” says Rendon. “And designers are asking for the DP226.”

Eddie’s Sexie XTA
‘Sexie’, the Emmy Award winning stand-up comedian Eddie Izzard’s new show, is completing its New Zealand leg, and behind the scenes XTA’s SiDD digital dynamics processor is proving to be every bit as “sexy” for the techs.

Michael Hayes FOH engineer for Eddie Izzard, comments: "SiDD’s pretty much the perfect thing for Eddie’s shows - I like it a lot!"

Brit Izzard, is wooing audiences from Auckland’s Aotea Centre, where College Hill Productions supplied a V-DOSC system under the direction of systems engineer and College Hill Director Chris Tate, with the set up comprising six L-Acoustics V-DOSC, four flown ARCS and two SB218 subs per side. The show then moved to the Wellington Opera House with an EV X-Array supplied by Western Audio, and on to Dunedin and Christchurch. In each instance, FOH and monitor systems have benefited from DP224 and DP226 system management.

“I just love seeing engineers go 'wow',” says Martin Morris of Spherical, XTA’s New Zealand distributor. "It reminds me of the first time I heard XTA's DSP, I was amazed and haven’t looked back since. In fact it’s all look-ahead with SiDD's look ahead design," laughs Martin. "The XTA’s are just so natural - it’s the best DSP I've never heard."

SiDD combines EQ, dynamic EQ, gate, compression and limiter in a single unit, replacing the need for multiple processors filling a rack.

Hayes backs up Morris’ enthusiasm: "I've turned up at shows where they've supplied a 40 channel console, when all I need is three channels and a rack of outboard gear: one for compression, one for dynamic EQ, etc. But SiDD has it all."

Eddie Izzard is combining his acclaimed theatre performances with his increasing presence on the stage and screen, including A Day In The Death Of Joe Egg, The Avengers and Velvet Goldmine. The Sexie Tour moves to Canada and the US after New Zealand, before returning to the UK in December.

Massive Attack Unlimited by XTA
Massive Attack’s current world tour in support of their new album, 100th Window, has turned out to be a veritable showcase for XTA, whose SiDD digital dynamics processor and the new Series 2 units have been specified throughout the PA system. In a PA system designed to convey the purity of sound the band’s subtle trip-hop demands, XTA processing has helped keep the signal clean and clear from microphone to loudspeaker.

GPA Hire is supplying its Funktion One Resolution Series system, comprising ten mid-high cabinets a side, along with five under-hungs and downfills and up to 12 subwoofers - depending on the venue size – all powered by QSC PL2 and PL4 amplification. TC2290 delays and Lexicon PCM80 and PCM91 reverbs complete the hardware inventory.

Gary Young, mixing front of house on a Midas Heritage 3000, specified five DP324 SiDD dynamics processors for compression and dynamic EQ on the low end of the vocals and bass guitar. He comments: “We’re really just grabbing hold of stuff and sorting it out, which you can do easily with a SiDD because you have everything there in one unit, rather than just being a gate or a compressor. It’s really like a multi-effects device, which is why I like it. I’ve used SiDDs so long now that I don’t want to use anything else. And I can do so much with them because I really know how to play with them.”

Clarity on stage has been aided by the decision to go for all-in-ear monitoring using Shure PMS600 and 700 wireless systems, with no wedge monitors to muddy the sound. Monitor engineer Howard Smart specified XTA Series 2 processing to help keep everything pristine, beginning with a G2 gate for the kick drum. He says: “I’ve tried other manufacturer’s gates, but the G2 is really controllable; you can get really fine increments out of it.”

He’s also using XTA’s new C2 digital compressor and opines: “It’s a really nice compressor, and doesn’t detract from the audio quality in any way unlike some. I’m using two SiDDs across the two lead vocals with a little bit of sidechain compression as well as standard compression and limiting. I’m using the last SiDD for the Korg Kaoss pad – and the name says it all, it really is chaos. Lots of mad stuff comes out of that, so the level needs to be kept in a safe little pocket for the in-ears, otherwise people would be having their ears fried. And there’s a little bit of EQ going on, using the parametric on the front end. Nothing else does the job as well as XTA.”


XTA D2 Exposes the Dynamics Of Mis-Teeq
When Huw Richards brought the master faders up each night on Mis-Teeq’s recent UK tour, he had more than the band to consider: “This show is by no means quiet. There were times where we were measuring 115-118dB (peak) just from the kids screaming!”

Northampton-based Tourtech provided adaptable PA configurations for the varied range of venues played and Huw is Mis-Teeq’s front of house engineer. “I was lucky enough to tour two PA systems,” says Richards. “dV-DOSC and L’Acoustics ARCS, and at Hammersmith we used V-DOSC with dV-DOSC down fills, and ARC in and out fills.

“Tourtech were very generous and basically supplied anything we wanted with very little added expense. For this type of tour it was ideal to be able to pick and choose what to apply to each venue with such flexibility.”

System control was XTA across the board and the dynamics rack saw XTA’s Series 2 to the fore. “In particular the D2 was very useful for Mis-Teeq,” adds Richards, who worked with the Series 2 range extensively at this summer’s Reading Festival. “As well as belting out up tempo songs and three ballads, the girls are also constantly vibing up the audience, which takes a lot of control from the audio end of things. The D2 was perfect for controlling the dynamics of this type of vocal. And I was most impressed with the additional master compression - all this from a one unit device.”

Richards also used XTA C2 and G2 for straightforward instrument channel inserts, and SiDDs, which he says speak for themselves, for numerous applications during the tour.

“I was very impressed with the package,” he concludes. “I didn’t find it necessary to have any other product on board in the way of system and channel insert. For me, XTA are way ahead of competition with more facilities per unit, and 100% reliability.”

Dick Rabel, TourTech MD adds: “We have had a remarkably happy association with XTA from the start. They remain true enthusiasts and constantly seek new avenues of development such as the astonishing 'Series 2' products. It is a tribute to XTA's quality that earlier products such as the DP series of processing remain 'current' and relevant, they are still the benchmark by which other processors are judged. The demanding requirements of the Mis-Teeq system were perfectly complemented by XTA components both at FOH and monitors.”

Tonight's the Night for XTA
Eight XTA SiDD digital vocal dynamics processors play a major role in the audio system installed at the Victoria Palace Theatre for Rod Stewart and Ben Elton’s hit musical ‘Tonight’s The Night’.

The rock’n’roll show stars a total company of 32 including eight principals and a seven-piece band on a riser, with drums, two guitars, bass and three keyboard players. Directed by Ben Elton, it also has designs by Lez Brotherston, lighting by Mark Hendersen, musical supervision by Gareth Valentine and choreography by Stephen Mear.

Sebastian Frost of Orbital, who designed the sound system with Alan ‘Whizz’ Mathieson, commented on the task: “The show has a high rock’n’roll content with a lot of underscoring, so half the challenge was to get the numbers up with a good rock’n’roll sound, with the flexibility to drop the level of the band to get the dialogue over the underscore. The sound system had to be loud, dynamic, punchy and high in quality. Versatility was also important and we installed a building-wide digital audio network to facilitate complete connectivity between consoles, outboard and playback machines.”

A rack of eight XTA DP324 SiDD digital dynamics processors, all fitted with AES/EBU ins and outs, is connected below stage to Richard George’s Yamaha PM1D FOH console and a Yamaha DM2000 monitor desk on the band riser.

“The SiDDs are deployed”, says Frost, “to do a specific job which they do extremely well”. That job is to maximise the vocal dynamic range from the singers’ DPA 4066 headworn radio mics and Trantec S6000 transmitters by using the SiDDs’ dynamic equaliser functions to provide variable, frequency-conscious compression depending on the input level.

“The sound changes dramatically between the spoken word and full-on rock’n’roll,” adds Frost. “The SiDDs help the system cope with those changes by varying the dynamic EQ depending on the vocal levels.” The SiDDs are divided into male vocal LCR, female vocal LCR and a third unit for spot effects and occasional frequency compression and EQ for the band. “Thanks to the computer network and the SiDDS we call up any part of the system to tweak as we like, from anywhere in the building,” he explains.

Virtually all the rest of the audio hardware is located under the stage next to the amplifier racks, while the FOH position itself has just a control surface and a reverb remote.

“The complete system of desks, PA and SiDDs provides a very high power but very compact solution,” adds Frost. “With high quality at every stage of an all-digital audio system we have the clarity that’s essential for modern musical theatre plus a very high degree of control and accuracy.”

XTA Goes Stereophonic for Xmas
XTA digital loudspeaker controllers and graphic equalisation were at the heart of the Stereophonics’ massive, sold-out pre-Christmas stadium and arena shows.

Following the November UK arena tour, the band’s seasonal celebrations were held over two nights at Earls Court and a final homecoming date at the Millennium Stadium in Cardiff. The second London show came complete with a ‘mystery guest’ appearance by Rolling Stone Ronnie Wood.

Dave Roden mixed the seven-piece band at front-of-house on a Midas XL4 with a PA from Capital Sound. The main system, a Martin W8L line array with Martin and Crown amplification, comprised 16 cabinets a side with 12 flown W8LS subwoofers, supplemented by side hangs of eight W8LCs per side and eight groundstacked W8SXs and 10 W8LCs per side as near and front fills. W8LC delay hangs completed the loudspeaker lineup.

In command of it all was system engineer and crew chief Al Woods’ XTA system, remotely controlled using AudioCore on his laptop PC, comprising DP226 loudspeaker controllers and a GQ600 graphic equaliser.

“I did a lot of walking around the venue with the laptop,” says Woods, “using AudioCore and SMAART to get the system perfectly tuned - precision that’s really important, especially in some of the more remote corners of the big venues.”

On stage, where John Burton was mixing on an InnovaSON console, Crown-powered Martin LE700 wedges were controlled by XTA DP224 processing, along with W8S and W8C sidefills.
Says Roden: “It was a great way to end the arena tour and the audiences were fantastic. Now we’re looking forward to America, Australia and Japan and then a summer of festivals.”