Australian Pink Floyd Show

As cover bands go, The Australian Pink Floyd Show stands apart on many counts. Having sold more than four million tickets to concerts in 35 countries certainly distinguishes them from run-of-the-mill cover acts. But perhaps their boldest boast is that David Gilmour – yes, that David Gilmour – had them perform at his 50^th birthday celebration. It’s a testament to their success in getting the sound, the feel and the experience right. And AKG gear plays a key role in that success.

Formed in 1988 in Adelaide by a group of Pink Floyd-obsessed musicians, the band honed its act until they not only had the songs down perfectly, but could also replicate Pink Floyd’s unique sound. They performed throughout Australia garnering positive reaction, but hungered for a bigger, broader audience. Their big break came when band member Steve Mac, while on a trip to the UK, got in touch with the publishers of “Brain Damage” magazine, the biggest Pink Floyd fanzine at the time. As it happened, magazine owner Glenn Povey was planning a Pink Floyd fan convention at Wembley in August 1993, and he booked Think Floyd, as TAPFS was then known. Their three-hour extravaganza, under their new name, The Australian Pink Floyd Show, was a huge hit and led to Povey booking the band at shows throughout the UK.

It was during this time that David Gilmour visited the band backstage after a show in Croydon, a visit that eventually led to the band performing at an event marking Gilmour’s 50^th birthday. What more could they hope for? How about Pink Floyd band members in attendance coming up on stage and performing with the band?

Since then, it’s been nothing but more blockbuster performances and accolades for TPFS as they’ve toured the world, periodically updating the act, keeping it fresh. All the while, the band has relied on an array of AKG microphones. For vocals, TAPFS opted for D7’s after experiencing problems with condenser mics that picked up too much of the drums in the background.“The D7 has great isolation, which not only keeps our monitor mixes tidy, but preserves our voices,” said the band’s Steve Mac.

AKG C414, C518 and D40 microphones are used for the drums. “We use the AKG C414 microphones on the overhead and ride cymbal, because they just sound so natural. For the toms and roto toms, we use the AKG C518 microphones, because their small stature and stunning sound allows for more accurate positioning in tight spaces. We use the AKG D40 on the lower floor tom and also on the gong to capture the rich bass,” Mac said.

Mac uses AKG C451/CK1 microphones on his Fender Twin Reverb amps, which “really bring out the detail of the top end and capture the glassy bite of a Twin,” he said. “Also, they have a large diaphragm and they really capture the low end naturally and add ‘size’ to the guitar sounds.”

AKG C518 microphones with AKG radio packs are used for the tenor, alto and soprano saxophones. The Baritone saxophone is captured by an AKG D40 large diaphragm “to bring out the warmth in the sound without the risk of feedback,” according to Mac.

Besides sounding just the way vocalists want them to, AKG microphones are designed to stay consistent and endure severe punishment across all stages of a tour, so bands can focus on the show. “The consistency is extremely important, because the audience is familiar with the sounds of original Pink Floyd songs,” said Mac. “These microphones allow us to accurately maintain the amazing sounds of Pink Floyd’s albums, regardless of the venue and environment. That is why we have been using AKG microphones for 31 years in both studio recording and live music production.”

http://www.aussiefloyd.com/

HARMAN’s Crown Introduces Its DCi Network Display Amplifiers With Front Panel Display and AVB Connectivity

ELKHART, Indiana — HARMAN’s Crown Audio today announced it is expanding its DriveCore Install (DCi) Series amplifier range with the introduction of its DCi Network Display 8|600ND and 4|1250ND power amplifiers, featuring front-panel status displays and AVB (Audio Video Bridging) connectivity. The new eight- and four-channel DCi Network Display amplifiers will be the first professional audio amplifier to be certified by the AVnu Alliance. DCi Network Display amplifiers will deliver reliable audio performance and networked operation in AVB-based audio/video systems.

“Since their recent introduction our Crown DCi Series amplifiers have set a new standard for installed sound, and our new DCI Network Display amplifiers build upon this industry-leading performance by offering certifiable compatibility with AVB-based installations, along with easy setup and operation and unshakable reliability. Combining DriveCore technology with AVB represents another first from Crown as we continue to lead the way for professional amplifier innovation for the most demanding large-scale environments,” said Daniel Saenz, Business Segement Manager, Crown Audio.

Both DCi Network Display amplifiers feature a front-panel display and LED indicators that provide at-a-glance indication of key parameters. A large multifunction knob and push buttons enable instant access to control functions. The amplifiers are compatible with HARMAN’s HiQnet Audio Architect™ system setup and control software and utilize TCP/IP-based protocol in HiQnet for network monitoring and control.

The eight-channel DCi 8|600ND delivers 600W into 8 ohms (300, 600 and 300W into 16, 4 and 2 ohms) and the four-channel DCi 4|1250ND provides 1250W into 8, 4 or 2 ohms (625W into 16 ohms). Both amplifiers offer direct drive “constant voltage” capabilities for 70Vrms and 100Vrms amplification without the need for a step-up transformer, yielding higher audio quality in distributed audio applications with power outputs of 1250W and 600W respectively.

Like all Crown DCi Series amplifiers, the DCi 8|600ND and DCi 4|1250ND utilize HARMAN’s proprietary DriveCore amplifier IC chip for powerful, highly efficient operation from a compact form factor measuring just 2 RU high. The DriveCore chip combines the amplifier driver stage into the power output stage along with additional audio-signal functions, yet is about the size of a postage stamp. The DriveCore-based Class D, next-generation PWM design dramatically reduces size and power consumption and yields much more energy-efficient operation.

Both amplifiers provide a host of networking and control features to ensure reliable operation, including continuous load monitoring, comprehensive error reporting, pilot tone monitoring and programmable general purpose input/output (GPIO) ports. The DCi 8|600ND and DCi 4|1250ND offer extensive DSP capabilities such as LevelMAX™ limiters for the inputs and outputs, with thermal limiting, input and output delay, input and output EQ, built-in crossovers and a built-in signal generator.

The amplifiers incorporate an exclusive Power Factor Corrected (PFC) universal power supply that is designed to deliver maximum power in any country and their universal AC input accepts voltages from 100 – 240 VAC, 50/60Hz (+/- 10%). A newly-designed cooling system focuses the airflow on where it’s needed most, yielding maximum efficiency even under demanding operational conditions.

Crown DCi Series amplifiers are built for the most demanding conditions of continuous professional use and carry a 3-year, no-fault fully transferrable warranty. 

HARMAN Professional Audio System Rolls Out at bluO Bowling Center In Chandigarh, India

CHANDIGARH, India – PVR bluO Rhythm and Bowl, a new entertainment destination concept in India, bills itself as India’s largest bowling center, with locations throughout the country. Much more than just a place to knock down pins, bluO’s newest Chandigarh location boasts 25 lanes and offers music, world cuisine, two karaoke rooms and internationally renowned DJ’s. Its lounges are the scene of regular Bollywood celebrity sightings. bluO’s striking interior features a ceiling with “rippling wave” lighting and other ultramodern design touches – and a HARMAN Professional sound system to keep the good times rolling.

“As a destination, PVR bluO epitomizes a new bowling facility standard due to its capability to infuse energy and excitement through sound. When HARMAN was approached by the management of PVR, we knew our goal was to ensure the necessary blend of quality acoustics to match the aesthetics of the venue. Upon completion of the project, we had a great sport destination with a world-class sound system, delivering a great experience to visitors,” advised Karan Kathuria, National Sales Manager, Installed Sound, HARMAN India.

Resonance Audio, a New Delhi-based system integration firm, was responsible for the design, layout, installation and programming of the bluO system.  A JBL loudspeaker complement of four STX 815M two-way 15-inch loudspeakers, four STX 818S 18-inch subwoofers, two Control 28s loudspeakers, a SB210 dual-10-inch compact subwoofer, and six Control 29AV’s which feature a rotatable high-frequency horn, enabling either horizontal or vertical mounting for added installation flexibility, cover the venue.

Audio signal processing and distribution is handled by a BSS Audio BLU-100 signal processor with digital audio bus, BSS BLU-BOB break out box output expander and a Soundcraft EPM-6 mixing console. Crown amplifiers, including one XTi 4002, one XLS 2500 and three XTi 6002’s drive the loudspeakers. Resonance Audio also supplied four AKG HT-45 wireless microphones for paging and announcements, karaoke and visiting DJs and entertainers.

“Our primary needs for this installation were good speech intelligibility and very high SPL levels with uniform low-frequency distribution and exceptional audio reproduction throughout the facility,” said Raghu Srinivasan, Managing Director at Resonance Audio. “We had a lot of ground to cover – the bowling alley itself, the lounges, the bar and restaurant and other areas, and we selected the particular JBL loudspeaker models on an application-specific basis to best cover the areas in which they were installed, and because their form factors made it easy to place them where they would not intrude upon bluO’s decor.”

Overall, the system was designed to maintain a high signal-to-noise ratio and have enough headroom to prevent clipping. “As you can imagine a bowling alley is a high ambient noise level environment, and we knew the power capability of the Crown amps, combined with the wide coverage patterns and efficiency of the JBL loudspeakers would be more than up to the task.”

Srinivasan chose the BSS BLU-100 because its flexible programming options enabled him to configure the system for optimal performance. The BLU-100 and Soundcraft console enable the system to deliver different volume levels for different zones of the venue, without being complicated to use.

“This project needed a system that staff members can easily operate without having to rely on a dedicated audio person. For this reason and because it’s constantly in use delivering high SPL on a regular basis, the audio system has to be totally reliable and foolproof. We have relied on HARMAN Professional products in all of our large-scale installations for years, and our belief in their capabilities has only been strengthened with time,” stated Srinivasan. “We are proud to have been an integral part of such a prestigious project and are more than delighted to have executed it with such extraordinary results,” he concluded.

Commenting on the installation, Bhanu Yadav, Vice President, Operations for PVR bluO stated, “This project was a major success, and we now have an amazing audio experience with a system that is both clear and powerful.”

“Our work with Resonance Audio and this particular installation underscores HARMAN India’s commitment to serving a host of vertical market applications that are now demanding higher quality audio solutions in their venues,” stated Prashant Govindan, Director, India Operations HARMAN Professional. “At HARMAN we are uniquely positioned to meet this need with our dedicated systems approach providing these users with all the elements required for a first-class professional audio system.”