Turbosound has announced the launch of three new products to its flagship Manchester series; the MV210-HC line array element, MS121 subwoofer and MC12-P point source element, and a range of accompanying accessories, designed specifically for touring PA and large-scale install applications. In 2019, Turbosound unveiled five new touring products: the MV212 and MV212-XV line array elements, MS215 and MS218 subwoofers, as well as the MAN-FG universal fly grid. These latest additions increase the ranges’ versatility which provide a complete solution, no matter the venue or requirement.   

The Latest Additions:

MV210-HC

• A dual 10-inch, 990-Watt hybrid curve line array element, delivering unparalleled clarity and intelligibility in a compact design   
• It provides exceptional coverage in wide rooms and distributed fill applications due to its broad 100° horizontal by 20° vertical dispersion pattern  
• Its hybrid curve technology allows for it to be used as a constant curve array, starting at 2 elements for smaller applications and morphing into a full-blown line array   
• Featuring two 10-inch neodymium cone low frequency drivers and a 1.4-inch coaxial neodymium MF/HF compression driver  

MS121

• A compact passive single 21-inch 2,000-Watt cardioid-arrayable, reflex loaded subwoofer
• Its four-point rigging system allows for an array of configurations   
• The low distortion design utilised reinforces the low frequency spectrum, steep cut-off slopes and DLP Technology (Diverging Laminar Port) ensures an effective acoustic transition with other Manchester elements  

MC12-P

• A 12-inch 690-Watt Point Source Asymmetrical element  
• Featuring a 12-inch low frequency transducer with lightweight neodymium motor and 1.4-inch coaxial neodymium MF/HF compression driver  
• Its asymmetrical 40°-100° horizontal by 30° vertical dispersion pattern, provides outstanding sonic quality and coverage in wide rooms as a standalone system, with or without subwoofers   

That’s Not All

 With the ever-increasing complexity of modern-day line array systems, the entire Manchester series features seamless integration with Lake Processing DSP and the Lab Gruppen PLM+ series. Turbosound have further prepared and meticulously designed a series of presets that will allow the user to achieve the maximum system performance and consistency possible.   

The newest additions also come with its own group of accessories, including the MAN-FG universal fly grid for MV210-HC Line Array Elements and MS121 Subwoofers, the MS121-VT and MV210-VT vertical transporters, plus mounting brackets, as well as a stand adapter for the MC12-P.   

“The addition to the Manchester Series is driven by our customers who wanted to see this range expand to cover applications where a smaller footprint is needed,” comments Chris Hinds, Turbosound’s Customer Solutions Leader. “Today’s touring requirements demand not only clear and consistent sound, but use of the full audio spectrum. As such, LF extension has been considered throughout the series. Our 21-inch bass cabinet (MS121) allows users to enter the 25Hz region, whilst maintaining a fast transient response and a considerable power output. Whereas the first of our point-source boxes, the MC12-P, utilises the same loading techniques and Mid/High components found in the MV212/XV and MC210-HC to give a consistent, familiar sound across the range. We’re excited to see the range grow and place us firmly back in the touring market.”

HARMAN Professional Solutions has introduced the JBL PRX900 Series of loudspeakers and subwoofers, which feature advanced acoustics, comprehensive DSP, unrivalled power performance, and complete BLE control via the JBL Pro Connect app. The line, which includes three powered two-way loudspeakers and two powered subwoofers is built from the ground up to leverage JBL’s most advanced acoustic innovations. All-new proprietary driver systems — with improved dispersion and beam width, smooth low-frequency extension, and powered by ultra-efficient Class-D amplifiers — deliver clarity and definition even at maximum volume.

The PRX900 Series’ class-leading DSP package is accessible via onboard LCDs and the JBL Pro Connect app. It includes 12-band parametric EQ for system tuning and nuanced tonal control, and integrated dbx Drive Rack technology. This features live and fixed Automatic Feedback Suppression, soft system limiter with Soundcraft Overeasy option, and speaker delay settings and presets. Use the JBL Pro Connect app to control up to 10 speakers, integrate with JBL EON ONE MK2, PRX ONE, and EON700 systems, and access app-only functions including speaker snapshots and grouping.

The PRX900 Series is designed to withstand the rigours of the road. Rigid composite loudspeaker cabinets feature computer-modelled ribbing for optimal acoustic performance and durability, while subwoofers are housed in 18mm birch cabinets with optimised bracing for smooth, accurate low-frequency response. Like with every JBL product, everything is reinforced by industry-leading test and validation protocols and the series is backed by an unprecedented seven-year warranty.

“For years, our PRX800 Series loudspeakers have been first-call systems for bands, DJs, installers and houses of worship in large part thanks to their acoustic profile, their low end extension, and their volume,” said Brandon Knudsen, HARMAN Professional Product Manager, Portable PA Loudspeakers. “With the PRX900 Series, we’re taking things to the next level with next-gen acoustic innovations and an even brawnier power package to deliver clean, clear sound at any volume. Systems take advantage of the latest BLE technology and the JBL Pro Connect app ecosystem, for unrivalled control.”

The PRX900 Series is a versatile solution for DJs and bands, music venues, rental houses, corporate A/V providers, or anyone seeking durable professional systems that deliver powerful, room-filling sound in either portable or installed scenarios.

Key Innovations Include:

All-New Acoustic Designs
From cones to cabinets, the PRX900 Series is designed for advanced acoustic performance. The patented JBL 2408H-2 1.5-inch compression drivers with poly-annular diaphragms and neodymium magnets provide clear, detailed high-frequency response; while innovative new horns with updated JBL Image Control Waveguides deliver consistent beamwidth and frequency dispersion. Next-generation woofers with ferrite magnets deliver smooth, natural bass response, and an FEA flared port design reduces air noise and distortion.

Superior Power Performance
Driven by highly efficient Class-D power amps, the PRX900 Series provides acoustic clarity and definition with minimal power compression, even at maximum volume. A bridged woofer amp keeps current spikes out of the ground, and lowers crosstalk harmonics to the tweeter. High-linearity inductors deliver superior power efficiency and low total harmonic distortion, and low-noise, low-distortion input gain staging optimises range and headroom for diverse gain requirements.

High-quality DAC and ADC provides near-lossless audio conversion. Producing up to 134 dB output down to 30 Hz, systems effortlessly support large performance spaces with high power and performance requirements, and with a full-bandwidth CMRR (Common Mode Rejection Ratio) greater than 55 dB and THD (total harmonic distortion) rating of <32 dB, noise is virtually nonexistent.

Class-Leading DSP
The PRX900 Series is fully loaded with comprehensive DSP, all accessible via the JBL Pro Connect app or onboard full-colour LCD. Processing includes 12-band parametric EQ, plus optimised presets and snapshots. Onboard dbx DriveRack technology features live and fixed Automatic Feedback Suppression, hard and soft system limiters and 180ms of speaker delay in 100-microsecond intervals for full time-aligned systems.

Versatile & Scalable
Combine PRX900 Series loudspeakers and subwoofers in a range of configurations to meet the requirements of both mobile scenarios and fixed installs. Speakers feature dual 36mm pole sockets and six M10 suspension points; subwoofers feature M20 pole cups. Full-range speakers feature a built-in gyro-sensor that automatically optimises system tuning depending on monitor or mains placement.

The Pro Connect Ecosystem
JBL’s Pro Connect app offers BLE functionality for system control of up to 10 speakers and line integration with JBL EON ONE MK2, PRX ONE, and EON700 loudspeakers. Access full DSP functions right from the app, including app-only features like speaker snapshots and speaker groupings.

Rugged & Road-Worthy
PRX900 components are housed in strong, lightweight cabinets that maximise both acoustic performance and durability. Loudspeaker cabinets are constructed from a polypropylene/talc blend that’s optimised for rigidity, with computer-modelled internal ribbing designed for maximum structural integrity and minimal cabinet noise. Subwoofer enclosures feature optimised bracing that smooths out low-frequency response.

Meyer Sound has announced the immediate availability of four more loudspeaker products that are now certified as stand-alone endpoints for direct connection to any AVB network compliant with the Milan interoperability protocol. Orders are now being accepted for new Milan input versions of the ULTRA-X20, ULTRA‑X22, and ULTRA-X23 full-range loudspeakers and the USW-112P compact subwoofer.

Meyer Sound’s new Milan-certified loudspeakers will debut at the 153rd AES Convention in New York on October 19 and 20, where it will showcase products in rooms 2D06 and 2D07 of the Jacob Javits Center. One of the products we will feature in the demo room is the PANTHER large format linear line array loudspeaker and, on request, Amie studio monitoring system listening experiences.

Already proven in the field with Meyer Sound’s PANTHER linear line array, the Milan input modules accept audio signals from any Milan-certified source via a certified switch. A single RJ45 connector carries high-resolution digital audio along with telemetry data for remote monitoring, resulting in simplified installation and reduced costs.

“The debut of these four Milan-certified loudspeakers marks a major milestone in the evolution of networked AV systems built around a user-driven protocol based on IEEE open standards,” says Andy Davies, Senior Product Manager at Meyer Sound. “Designers of installed systems for new construction can save on cabling and installation labor costs, while system renewals can utilise cabling already installed for existing Gigabit Ethernet networks — all with the inherent routing flexibility of digital networks.”

The availability of Milan-certified loudspeaker systems enables complete network AV solutions which not only offer simplified management and control but also are more cost-effective to deploy using IT industry infrastructures. Network solutions also maintain a fully digital workflow all the way to the end point, eliminating conversion stages that add latency and degrade performance.

“Milan is rapidly becoming the preferred digital transport solution because of its reserved bandwidth as well as guaranteed latency and presentation time,” adds Davies. “Indeed, for many applications, it is the only digital transport solution that meets the technical requirements. In addition, as an open standard, it will be supported for the life of the product. Meyer Sound products last for decades, and the network technology must do the same.”

Meyer Sound Milan-certified loudspeakers now offer the advantages of end-to-end networked solutions across a full range of applications, including but not limited to corporate and hospitality installations, theme parks and themed spectaculars, houses of worship, and retail spaces.

“The Milan-based network ecosystem is expanding rapidly,” comments Davies. “One major console manufacturer is now shipping Milan-certified products, and we also are seeing new endpoints and an increasing selection of certified switches. Alongside this, we can already see the benefits from Avnu Alliance’s new membership and testing initiatives. We are excited by the number of new products and manufacturers we expect to see added to the Milan world in the next few years.”

Aside from the input module, loudspeakers with Meyer Sound’s Milan-certified endpoint module are identical to those with the standard analog input. Although each of the loudspeakers in the ULTRA-X20 family offers a lightweight (12.3 kg) and compact form factor, they all have high SPL to size capabilities. The ULTRA-X22, for example, produces 128.5 dB (M-Noise) over an operating range of 60 Hz – 18 kHz. The USW-112P compact subwoofer (21.4 kg) also is a powerful performer, producing 123 dB over a 35 to 140 Hz range.

When these models are ordered with Milan-certified input modules, the user panel includes the new Neutrik etherCON TOP network connector and powerCON TOP AC line connector for weather-resistant connections. Remote monitoring capability is also included and utilises the common network connection rather than separate wiring. A weather protected option provides full IP54-rated protection for outdoor installations with no rain hood required.

The ULTRA-X20 family offers three coverage pattern options, coupled with rotatable horns and a wide selection of accessories. The result is a flexible range of systems equally at home in rental or permanent installs. Bringing this family into the Milan ecosystem, along with the powerful USW-112P, further enhances the flexibility and range of deployments possible with Meyer Sound solutions. 

At AES in New York, Meyer Sound also will be previewing new software for connection management and monitoring, and members of the Meyer Sound technical team will be presenting on panels throughout the convention.

Dead & Company is back on the road for their 2022 Summer Tour which kicked off in mid-June at Dodger Stadium in Los Angeles. As they carry on the Grateful Dead tradition of using the latest innovations in sound reinforcement, the tour is powered by a system featuring Meyer Sound’s new PANTHER large-format linear line array loudspeaker. The band further augmented its seemingly limitless repertoire of tunes while UltraSound — decades-long audio provider for the Grateful Dead and successor ensembles — assembled the largest system of Panther loudspeakers in North America, and the first to roll out on a USA tour.

To cover expansive audience areas in a mix of sports stadiums and larger sheds, UltraSound is carrying a Panther inventory that allows reconfiguration for venue size. For stadiums, a typical deployment is four identical arrays — two main front and two side — each comprising fourteen Panther loudspeakers, with four Panther-W wide coverage versions flown under 12 Panther-L long-throw versions.

Mixing the band for Panther’s North American touring debut is FOH Engineer Derek Featherstone, who also serves as tour director and UltraSound CEO. “Panther is a very responsive system and reacts quickly to change,” remarks Featherstone. “The vocals tend to lead nicely, staying up front in the mix better than with last year’s system. I’ve altered some vocal compression to take advantage of this. Also, the general consensus so far is that Panther needs less EQ, so optimising the system is quicker. We don’t need as much high frequency boost in stadiums, and the detail is more transparent.”

Weighing in at 150 lb (68 kg), the Panther loudspeaker nevertheless produces greater than 150 dB peak SPL. The compact size and reduced weight save on transportation costs while the new Class D amplifier dramatically reduces power consumption. Panther is the first line array system to offer AVB Milan protocol network connection directly to the loudspeaker cabinet.

As tour director, Featherstone appreciates the added flexibility afforded by Panther’s power-to-size/weight ratio. “We’re using the same count of Panther as we had for LEO last year, but the reduced size and weight allowed us to carry more subs and deploy them more effectively. Recovered truck space allowed us to bring the VLFCs, while Panther’s reduced weight makes it easier to do more end-fire sub arrays in stadiums within the same total weight limits.”

For larger venue deployments, Panther arrays are bolstered in the bass registers by 18 flown 1100-LFC low-frequency control elements plus 12 700-HP high-power subwoofers on the ground. Ten VLFC very low-frequency control elements extend response down to a subsonic 13 Hz. A dozen LEOPARD compact line array loudspeakers are deployed singly for front fill, and a total of eight GALAXY Network Platforms provide system drive and optimisation. The stage foldback system comprises 10 MJF-210 and two MJF-212A stage monitors along with two JM-1P loudspeakers for side fill and two 1100-LFC elements as drum subs.

“We invested in Panther for three reasons,” says Featherstone. “We needed additional inventory, we were confident that the fidelity would be as expected from Meyer Sound, and we would benefit from the added versatility. We are already getting a good deal of interest from other tours and events after Dead & Company wrap up next month.”

In addition to Featherstone, the Dead & Company tour is supported by Michał Kacunel (system engineer), Ross Harris (recording engineer and ground PA tech), Lonnie Quinn and Ian Dubois (monitor engineers), along with crew members Sean McAdam, Aaron Lauzier, and Reilly Williamson.

The band’s 2022 tour proceeds eastward with 20 shows scheduled in 16 cities, wrapping up at Citi Field in New York on July 16. Of the tour venues, four are Major League Baseball stadiums, one an NFL stadium, and one college football stadium, with the balance at larger sheds.

Dead & Company was formed in 2015 when the Grateful Dead’s Mickey Hart, Bill Kreutzmann, and Bob Weir joined forces with artist and musician John Mayer, Allman Brothers’ bassist Oteil Burbridge, and Fare Thee Well and RatDog keyboardist Jeff Chimenti, and has quickly become one of the most successful touring bands year over year. Since its formation, the band has completed six tours playing to millions of fans and became a record-breaking stadium act when it broke Wrigley Field’s all-time concert attendance record, which still holds to this day. Having toured consistently since its 2015 debut, the band has grossed $300 million and has sold more than three million tickets across 172 reported shows.

PHOTO CREDIT: Jay Blakesberg

Coldplay’s “Music of the Spheres” U.S. tour kicked off in North Texas at the Cotton Bowl followed by dates in Houston and Seattle, and continued through mid-June. The band’s sustainability initiative for this tour is adapting all tour operations to minimise CO2 emissions in line with the best science and practices from set build and travel to freight, power, and sound. The tour will plant one tree for every ticket sold with a portion of the proceeds earmarked for a variety of green initiatives around the world.

The Coldplay camp has required that the sound system be 50% more energy efficient than their previous tour in 2016-17. With that pre-requisite, Firehouse Productions (NY) who has supported Coldplay tours since 2016 has decided to deploy d&b audiotechnik GSL and KSL loudspeakers for their efficiency, paired with D80 amplifiers that demand less input power and enhanced energy saving features. “Firehouse supports the European Coldplay dates alongside Wigwam; while Firehouse is handling the PA in the states, Wigwam will be providing production later this year when the tour heads to Europe,” states Nick Bechard, Account Manager, Firehouse Productions. “It is a joint effort that has worked very well.”

d&b SL-Series was developed with efficiency in mind, reducing power requirements by up to 50% for equivalent sound pressure output levels compared to former systems. In addition, precise control of directivity continues to be one of the hallmark features of SL-Series, keeping sound where it is needed.

“99% of the venues will be outdoor, as in Stadiums with no roofs,” states Tony Smith, head of audio and sound designer for Coldplay. “As the sound limits within and outside the stadiums in Latin and North America are not monitored, use of NoizCalc has not been implemented yet. Once we get into Europe, sound emissions will be an issue and NoizCalc will be a useful tool, but with ArrayProcsessing more so, I can predict what will stay in the stadium and at what level. Also, with SL-Series and its full-bandwidth cardioid pattern, the lack of sound from the back of the array will also help for any upstage level monitoring where the sensitive areas usually are.”

d&b NoizCalc was developed in direct collaboration with SoundPlan for predicting environmental noise pollution into the surrounding areas of an outdoor performance. It can account for topography, buildings, wind speed, air temperature and humidity.

Using d&b ArrayProcessing, refined control of level distribution and tonal balance can easily be achieved. Smith added that ArrayProcessing has become a vital tool “as mentioned for regulating sound emissions, but also sound levels within the stadiums. There are some sites that the loudest area of the audience is monitored for audience protection against hearing damage. With J-Series the local authority was surprised with the uniform sound level across the audience area, and now with SL-Series I am happy to continue this consistency.”

Data is being sent to d&b audiotechnik R&D so that they can monitor the power usage. “This is very positive and forward thinking. I had a lot of data from Matthias Christner [Head of R&D Acoustics at d&b] leading up to the tour so I could pass on our power needs and details as well as to see what d&b was doing to reduce power consumption, which is up to 50% less from our last tour. Production is obviously very happy with our reduced power consumption as well as the improved truck space,” says Tony Smith.

The first leg of the tour was in Latin America. Due to weight issues and the environmental footprint of shipping tons of sound equipment, Firehouse helped arrange local suppliers and as much local equipment as possible using predominately J-Series with SL-SUB. “We had a great result and picked up where we left off in 2017 but we were looking forward to getting our hands on GSL; we have not been disappointed. It has been a lot of fun and it’s sounding great. The sound of the box as well as the extra low end has been amazing. Being able to take the pressure off the ground subs to do all the work has helped the band and the ability to shape the sound in troublesome venues with the various tools has been exceptional. The CPL (coupling) function has been great as well for shaping what we need. The low end in the upper seating tiers has also been greatly improved.”

“Many venues are already adopting sustainability strategies and artists have an increasingly strong desire to tour in an environmentally friendly way,” states Marc Lopez, Vice President of Marketing, d&b audiotechnik Americas. “d&b received a Green Guardian Award in recognition of the work being done to reduce the carbon footprint of the live entertainment business. We are privileged to aid Coldplay in their sustainability initiative.”

The Coldplay d&b system configuration consists of 16x GSL8 per side for main hangs, 16x GSL8 per side for side hangs, 6x SL-SUBs flown per side, 18x KSL8 per side for 270 Hangs, four delay towers with 16x KSL8 per hang, 18x SL-SUBs for ground subs, 6x Y7Ps, and 8 x Y10Ps for front fills.

There are 116x D80 amplifiers total: 40 per side of stage. 9 per delay tower. A Luminex Network backbone is used for amplifier control with an Optocore backbone for AES distribution of signal with an analogue backup. 8 x d&b M4 stage monitors handle the various acts popping in and out of the tour. 

As of press time, Smith said he received word the tour will be using the new D40 amplifiers on ring delays for Europe shows. “We have also added three hangs per side down each side, two at the rear hung off the roof of the venue in Berlin, Paris, and Warsaw. Each hang comprises of 8 x V8s, with V12s for the rear pair (provided by Wigwam). It helps in larger venues to get even coverage but also to control the coverage better, reducing sound spill for offsite SPL readings. It definitely gives the audience a better sound experience. I’ll be happy to see how they perform. Plus, less power!”

Firehouse is also providing a support control package including 2x DiGiCo SD10s; Wigwam is providing the Coldplay control system package. Coldplay control is based around DiGiCo SD7Q, SD10RE, SD Racks, Nano’s, Minis all with 32Bit Cards, utilising 2x loops. Optocore festival boxes, M12 with DD2’s to transport backline MADI lines onto the loop. DirectOut Prodigy’s both MC and MP are used for analogue I/O to MADI and system EQ & control. Other systems provided by Wigwam include Wysicom IEMs, 2x M2 stage monitors, 1x J-SUB for bass player Guy Berryman.

XSL tops will be used in Europe paired with KSL-SUBs for side fill. “Now we have no sound on stage,” says Smith. “We felt the need to fill the void a little or at least have that ability to give some clean audio rather than the mush given off other PA systems. Again, the SL-Series, even in the smaller format gives a great punch at half the size and power consumption.”

CEO of d&b audiotechnik Amnon Harman affirms the company’s long-term commitment to far-reaching principles of sustainability. Since 2013, the company has held an environmental certificate. Since 2018, d&b has committed itself voluntarily to meeting the requirements of effective sustainability by participating in several initiatives promoted by the state, the federal government, and following the international principles of the United Nations. “The declared aim is to integrate these principles firmly within the company in collaboration with its co-workers, in the present and in the future.”

Photo credit: Stevie Rae Gibbs