Ashly ne24.24M Open-Architecture DSP Goes Live In California

Principal Steven Barnes, who also serves as a FOH (or monitor engineer when needed), uses an Ashly ne24.24M open-architecture DSP to neatly corral multiple FOH desks and to provide overall system conditioning when using an L-Acoustics PA system and monitors. A small sample of the productions that have benefitted from SB Technical’s forward-thinking integration include Kanye West at the Citizen Bank Arena, Foo Fighters at the Paladium, and the BET Awards pre-party.

At such large events, multiple consoles are the norm, with each A-list or B-list act demanding its own console. Moreover, that trend snowballs the proliferation of faders to include a designated production console as well. On the up side, multiple consoles make for a smoother and less stressful setup, as each engineer can work in headphones to perfect a mix even when his or her band isn’t actually sound checking. For clients who don’t have their own console, SB Technical has at the ready industry-standard Digidesign Profile and Venue, Yamaha PM5D and M7CL, and Midas H3000 units. “The problem that we were having is that no one makes an affordable product to tie all those outputs together that is still flexible enough to meet the varied circumstances that we invariably find at every show,” said Barnes. “That is, except for the Ashly ne24.24M.”

But Barnes had to think outside the box, so to speak, because the ne24.24M is more often found in fixed installations, where its modular frame provides flexible numbers of inputs and outputs and a full panoply of processing modules to accomplish any task. Those same qualities make it the perfect solution for SB Technical. A typical setup uses eight inputs, two each from four separate consoles, and ten outputs. Four of the outputs feed the L-R and far L-R PA system, one feeds the subs, one feeds the front fill, and two feed the L-R delays. Two additional outputs send to a recorder to archive the event.

“Not only does the Ashly ne24.24M serve as a comprehensive sub- and matrix-mixer, its onboard processing takes care of the PA and other output requirements,” said Barnes. “It provides the system EQ, crossover for all cabinets, and delays. When we use it in a monitor rig, the ne24.24M delivers up to eight channels of processing for eight bi-amp mixes in just two rack spaces!” Depending on the size of the event SB Technical Services sometimes augments its Ashly ne24.24M with additional input/output modules or even additional units. Nearby CSA Productions (Simi Valley, California) rents the additional gear to SB Technical as needed.

The output from the Ashly ne24.24M interacts principally with L-Acoustics V-Dosc, dV-Dosc, or Kudo line array components. “We have been using L-Acoustics products for years now,” said Barnes. “Of course they are a well-recognised and respected name in the industry which makes my setup very rider-friendly. In addition, L-Acoustics’ Soundvision software, which provides acoustical and mechanical simulations of L-Acoustics systems, has been an invaluable tool, allowing me to show a client exactly what they are going to hear in their particular venue and to provide the required information to a tech for proper installation to realise that coverage. The company’s excellent network program makes it easy to find boxes anywhere in the world.”

“Our clients consistently comment on the sound quality that we deliver,” he continued, “most notably uniform coverage and intelligibility. A huge part of that, of course, is the processing through which everything runs. With the Ashly ne24.24M, we’re able not only to deliver great sound, but also to customize the functionality of our product to the specific location and requirements of a particular client.”

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