Recent Work

Originally published by Meyer Sound

Meyer Sound Covers Beverly Hilton's International Ballroom

Encore Event Technologies has purchased a new Meyer Sound LEOPARD™ linear sound reinforcement system to serve as the sonic foundation for production services it provides in the world renowned International Ballroom of the Beverly Hilton. As the hotel’s resident production services provider, Encore supplies world-class technology for more than 300 events annually, including such prominent entertainment industry gatherings as the Golden Globes, the Academy Awards Oscar nominees luncheon, the Director’s Guild Awards, the American Cinema Editors’ Eddie Awards, the Visual Effects Society awards, and the Clive Davis Pre-Grammy Party.

Performance requirements for the audio system are exceptionally challenging as it must supply crisp speech intelligibility for up to 1100 guests along with the power reserves and musicality needed for live music performances – often from A-list artists – and convincing reproduction of the high-impact soundtracks accompanying clips from blockbuster Hollywood releases. All these factors were considered by Rachel Wolfe, director of event technologies at Encore’s Beverly Hills location, in making her selection of the LEOPARD-based system.

“We had a Meyer Sound MICA® system in here for about ten years and we were pleased with its performance,” says Wolfe, “but I felt like it was time to invest in newer, updated technology. I’d heard LEOPARD at other venues and was convinced it was the right choice. The power and clarity are all I expect from Meyer, and LEOPARD’s wide coverage works well with the shape of the room. Also, the slender profile of the arrays is visually appealing and fits in well with our other staging requirements.”


Clint Rowland, a freelance FOH engineer frequently contracted by Encore to mix events at the venue, admits he was both excited and hesitant when the LEOPARD system made its debut. “I was somewhat nervous because I had relied on the MICA loudspeakers for the six years I had worked here,” he says. “But I was relieved and excited when I first started pumping music through it. I was even more impressed when they put up a podium mic and then walked around with a wireless lav. This is a tricky room to work in, with a low ceiling that’s covered with video and lighting gear, and layout changes drastically with different events. But LEOPARD is giving us great sound and superb gain before feedback.”

Provided by Chicago-area integrator TC Furlong, the new audio reinforcement system is anchored by dual arrays of six-each LEOPARD line array loudspeakers and supplemented in sub-bass by four 1100-LFC low-frequency control elements. The complete Meyer Sound roster also includes 11 UPJ-1P VariO loudspeakers and four UPM-1P loudspeakers, one MM-4XP self-powered loudspeaker, and four MJF-210 stage monitors.


Jack Hayback, another regular freelancer at the venue, appreciates the accolades he’s received from clients regarding the sound quality at recent events. “We’re getting rave reviews for LEOPARD and 1100-LFC. There’s just so much clarity from top to bottom, and the high-frequency response is so well controlled and predictable. It’s just a fantastic box, and we’re all enjoying it.”

For his part, Clint Rowland is particularly enamored with how LEOPARD responds to the full spectrum of program material and output levels. “With LEOPARD, it doesn’t matter if we’re doing a corporate show with talking heads, or a fundraiser with A-list bands, or an awards show. The volume level does not affect the tonality. You can mix a low volume presenter and then move to a dinner band, then on to a full rock performance or action movie soundtracks. Whatever you do, the system behaves in a linear fashion. You don’t have to push it to a certain volume to get the sound you want. You get ‘power without the pain’ as one of my colleagues likes to say.”

The recent audio renewal by TC Furlong also included installation of a new Yamaha Rivage PM10 digital mixing console. Other production technology available from Encore at the International Ballroom includes six Christie Roadster 14K HD LCD projectors, a permanent lighting grid with over 350 fixtures (moving lights from Vari-lite, Quantum and GLP), and high-speed networking including SMPTE fiber connection.

For more information about Meyer Sound’s LEOPARD system or anything from our list of over 100 professional audio manufacturers, contact our Sales Team at 847.367.9588 or

We also have many Meyer Sound speakers in our extensive rental inventory, including LEOPARD line array elements.  For more information on adding Meyer speakers to your next show, or any help with your next rental, please contact our Rental Team at 847.367.9588 or


TC Furlong’s Live Event division supports a very wide range of events from concerts to corporate meetings, special events to broadcast originations.  Over the past couple of months, the Live Events team coordinated audio for three Broadcast events including several HD concert tapings for public television and an MSNBC town hall with Bernie sanders.

The common thread to all of our live events work is the scope of involvement that focuses on comprehensive project management, in-depth design work, complete system solutions and having our staff engineering team onsite.


“The MSNBC taping came together on relatively short notice,” says TC Furlong’s Chris Wintz who managed the project and was also the reinforcement mixer.  The call had come in only five days before taping.  “We had to forgo a site survey and instead designed off of a diagram and photos. We worked closely with the MSNBC line producer to make sure the broadcast team was fully supported, as well as making sure every seat in the house had good coverage, without interfering with the live broadcast.”


Broadcast2 (2)

In terms of gear, everything was designed with a small visual footprint in mind including Meyer UPM-1P loudspeakers on heavy based mic stands. “Mixing backstage, watching the action on a LED display, getting level notes from my A2 and simultaneously listening to the director and production mixer on intercom is a challenge under any circumstance and even more so in live TV,” Wintz continued.  “Working with the MSNBC New York crew and the other many local vendors required that precision advancing and being super-nimble onsite. We’re really good at being flexible.”

Contact Jeff with TC Furlong’s Live Event group next time you have an important function that demands expert planning and flexible execution at 847.367.9588 or

by Brian Grahn, Sales/Marketing


TC Furlong Inc. is excited to have designed and supplied the entire sound system for the new House of Vans Chicago. The re-purposed warehouse space serves both as a music venue and Chicago’s only existing indoor skatepark, home to a custom-built course featuring re-imaginations of iconic skate spots and obstacles for all skill levels.

House of Vans Chicago officially opened its doors on February 3, 2017 with a two-day celebration of music, skating and art.  The opening night featured live performances from Future Islands, Digable Planets, and Chicago-based breakout artist, Noname.  

TC, in collaboration with House of Van’s Chuck Radue and d&b audiotechnik design serivces, worked to develop the “little, light & loud” system.  “They were able to design a system that was not only within my budget, but saved me so much in cable and rigging costs,” says House of Vans Production Manager Chuck Radue.  “The ability to cover a 900 capacity space using six cabinets is quite an achievement.”  Chuck and his team self-installed the system.  TC oversaw the system commissioning and alignment prior to opening night along with Jake Kenneally.

At the heart of the system are two d&b V10P 3-way main speakers that feature two 10″ drivers, an 8″ MF driver and 1.4″ compression driver, while low frequency content is provided by four V-GSUB subwoofers.  Each V-GSUB houses two elements, an 18″ driver in a bass-reflex design and a 12″ driver in a two chamber bandpass, that create a cardiod dispersion pattern.


photo by Jake Kenneally

A delay system to service the VIP bar is made up of two d&b E8 cabinets with two E12x subwoofers, while two d&b E6 speakers supply coverage for the skate bowl.  Stage monitoring is provided by six d&b MAX2 wedges along with a B6 subwoofer for drum fill.  A complement of d&b D80 and D20 amplifiers provide power for the systems.

TC Furlong Inc. also provided the nuts and bolts of the system.  On-stage an analog split supplies inputs to Allen & Heath AR2412 and AR84 stage boxes which feeds an Allen & Heath GLD-80 for monitor mixing.  Front of house is mixed on a Midas Pro2 digital console that provides up to 64 input channels and 27 mix buses at 96kHz.  I/O comes via digital snake from a Midas DL251 stage box with 48 channels and 16 returns.  

“I am an old school Midas guy,” says Chuck, “I think they make the best sounding pre’s in the business.  We multi-track all of our shows, so with the combination of the Midas preamps and the 96k sampling rate made the recordings come out fantastic.


photo by Jake Kenneally

TC Furlong Inc. provided a mix and match of the usual suspects to make up the microphone selection.  Microphones from Shure’s SM and Beta series are paired along with products from Sennheiser, AKG and Radial.  K&M and Atlas stands keep everything in the right place, while Whirlwind cabling makes sure the signal path is clean and consistent.  A custom Whirlwind Power Link rack provides electrical distribution. Whirlwind PL1 stringers distribute necessary power around the stage via Neutrik Powercon connections.

“TC Furlong as a person and as a company has been nothing but supportive, professional, and knowledgeable,” says Chuck in regards to the experience. “Add in the fact that the pricing is the best I have found in the country and you have a customer for life.”

We are happy to have worked with Chuck, Vans, and d&b on such a fun project, and to have played our part in delivering the soundtrack for many skaters in the Chicago area.

House of Vans Chicago is now open.  For more information, including a calendar of events, visit their website.

For more information about the products in this article or anything from our list of over 100 professional audio manufacturers, contact our Sales Team at 847.367.9588 or

Originally published on ProSoundWeb

Jack Hayback Clint Rowland PM10

Encore Event Technologies, a Freeman umbrella company located throughout North America, provides event production to over 95 hotel/venue properties nationally. A leading provider of unique, creative, and innovative in-house audiovisual services for hotels, conference centers and resorts, its subsidiary, Encore Productions, is a full-service creative production and A/V equipment rental company.

Encore Event Technologies Beverly Hills location recently purchased a Yamaha RIVAGE PM10 digital audio console from Chicago-area sound company TC Furlong for use at the Beverly Hilton Hotel’s International Ballroom in Beverly Hills, California. Encore has a contract to provide all of the hotel’s production needs including audio, video, and lighting.

The International Ballroom hosts over 300 high profile events per year ranging from televised awards shows like the Golden Globes to the upcoming Clive Davis pre-GRAMMY party, the Academy Awards Oscar nominee luncheon, the Hollywood Film Awards, The Directors Guild Awards and so on.

In early December, the console was used for Ebony Magazines Ebony Power 100 Awards, and the NYC based American Ballets Nutcracker.

ABT at Beverly Hilton

“We’ve utilized Yamaha consoles in our venues for a long time, including the PM5D, LS9, QL5 and a number of O1Vs that we have in our inventory, states Rachel Wolfe, director of event technologies, Encore Event Technologies. We love the Yamaha interface, and the boards are supremely reliable, user friendly, and sound great. We have been anticipating the release of the PM10 for some time and are thrilled to finally have it installed. The console seems to have managed to incorporate the wish lists of all our audio engineers into one extremely flexible board.”

Wolfe said the International Ballroom is an unusual and historical venue and hosts a surprising range of events.

“Both the Beverly Hilton and Encore treat this room as a theatrical venue and not as a typical hotel ballroom with back-to-back shows all year long. In any given week, we could have a Broadway review on Monday, Diana Ross on Tuesday, a ballet on Wednesday, Ozzy Osbourne on Thursday, and a televised award show on Friday, so we need a console that can handle this demand. The PM10 has shown itself to be able to do so gracefully. Our clientele are extremely production savvy; we deal with touring road managers and engineers, film industry line producers, television producers and directors, etc. They want to know that we have the top of the line gear available and that we can pull off their event flawlessly.”

“I have had a lengthy history mixing on Yamaha consoles”, states Jack Hayback, freelance front of house engineer for Encore. “Together with help from the folks at TC Furlong and freelance engineers Clint Rowland and Serguei Soloviev, we installed the console and built several templates for the space. Although, I was slightly intimidated at the prospect of getting to know another digital console, the PM10 is remarkably easy to use. I committed a lot of energy to educating myself on it, but as soon as I started using the console, it became second nature. Literally, within a few days, I knew everything I needed to know. With a lot of great features, the PM10 is very definitely a Yamaha console.”

Hayback compares the new PM10 to a brand new Tesla switched to Ludicrous Mode. “I can’t imagine using another console for this application. Any other board would be moving back in time. For me, the defining moment was the inclusion of a 96k, 24-bit sampling rate. This is huge for audiophiles like me because up until now, it has been very difficult to get anything over 48k in a live digital console.”

Yamaha PM10 Beverly Hilton

“The PM10 has been an extremely pleasant mixing experience, from the responsiveness of the EQ to the ease of use of inserts and plugins, says Hayback. The networking capabilities and the fiber optic interconnectivity between components via the TWINLANe network are simple and bulletproof. TWINLANe makes it unbelievably easy to connect various components and find them on the network.”

Regarding the new SILK processing, Hayback adds that “for many years Yamaha consoles have been very one for one; what you put in is what you get out, but now with the SILK feature, designed in collaboration with Rupert Neve Designs, harmonics are added to the sound, bringing a nice texture to the audio. As an example, for an acoustic guitar or on a lead vocal, by adding a bit of SILK, the sound suddenly jumps out of the mix. I’ve used SILK on all kinds of instruments, but one thing I’ve had great success with is that we often drive the sound system with the PM10 and have guest engineers’ consoles patched into the Yamaha. I take the engineer’s master outputs into the PM10 and add SILK on them, bringing brilliance to the entire mix. And, by adding SILK texture onto say, a musical orchestral mix, the whole mix just opens up. With 144 inputs, 72 mix buses and 36 matrixes, the PM10 is a perfect fit for what we do in the International Ballroom. We are constantly pushing the boundaries of what mixing consoles should be doing, so for us, more is better.”

Hayback notes that visiting engineers are excited to see the PM10. “Everyone has been waiting for the next most significant console from Yamaha to hit the streets, so now that it is here, engineers want to know how to use it because they know they will start seeing this console everywhere. The excitement for it has been fun to watch. For the most part, engineers are embracing the PM10 greatly and trying to get more seat time behind it. If you are familiar with any of the current Yamaha digital consoles, you will adapt very quickly to the PM10. With Yamaha CL, QL, or M7CL experience, the layout and touch screens will be very familiar.”

For more information about Yamaha’s PM10 Rivage system or anything from our list of over 100 professional audio manufacturers, contact our Sales Team at 847.367.9588 or

Originally posted on the DPA Microphones site

dpa-dscreet-necklace-micLooking for a solution that would allow them to more easily mic pastors and performers of all statures, the audio team at Christian Church of Clarendon Hills (CCCH) recently turned to DPA Microphones’ d:screet™ Necklace Microphone. This marks the first known HOW application for the company’s latest miniature mic, which recently won a TEC Award. In addition to its regular services, the church lends its auditorium to local schools for concerts and events, so the audio team also keeps a supply of DPA d:fine™ 66, d:fine 4066 and d:screet 4061 miniatures on hand.

Initially trying the DPA d:screet™ Necklace mic on recommendation from TC Furlong, Robert Locklear, Minister of Worship and Music at CCCH has become quite fond of the miniature mic. “It has a lot of the same tonal qualities of a regular headset mic with a little lower-end, which was a welcome surprise because of the high-end frequencies boost,” he says. “We don’t have any of the whispyness that we have with most headset mics that are commonplace in houses of worship. We only have one Necklace mic right now, but it has such a great quality that we’re definitely going to purchase more.”

The size and durability of the mic also appealed to Locklear and his team, who have a limited budget for purchasing new mics. “We do a lot of plays and talent shows, both through our church and for local schools that rent our space, and the biggest problem we were having was trying to mic the children and petite women,” he explains. “For instance, our Pastor’s wife is very petite and when she would wear the d:fine headset mics that we use for the male speakers, we couldn’t mount it to her head properly because we have the longer boom, so the d:screet Necklace is a better fit for this situation.”

2015_05_DPA-Microphones_Clarendon-Hills_dscreet-LARGEIt isn’t just the smaller presenters who are benefitting from the d:screet Necklace. “It has been excellent for all of our speaking roles,” continues Locklear. “We had some doubts about it being placed down by the neck and behind the mouth, but those have really been unfounded. What’s more, our Senior Pastor is very comfortable with the mic. It’s especially useful for when he’s done with service as he spends a lot of one-on-one time speaking with people and found that it would often be off-putting for people sharing their life story with someone with a headset mic. With DPA’s d:screet Necklace mic, he just tucks the mic into his collar and sits it right where a tie might be, so no one notices the mic. This setup has given him and his congregation a lot more confidence to have personal conversations.”

Though the d:screet Necklace is proving to be the preferred solution for presenters, the church’s DPA collection began with the original 4066 Headset Microphone, now part of DPA’s d:fine line of headset mics. It was Locklear’s experiences with that mic that led him to purchase the d:fine 66 and d:screet 4061, in addition to the d:screet Necklace.

“We started purchasing the 4066s as we were replacing our competitor-brand headsets because we felt the DPAs were a lot sturdier,” he explains. “We purchased the dual-ear version, which was not available for most brands at the time. That solution has given our speakers a lot more comfortability, confidence and security because the mic doesn’t move around when they are talking. The mics are also great for the students who use them, especially for younger users when we host outside events. The wire is a lot more pliable than most headsets.”

With the new whitespace laws coming into effect, Locklear plans to replace all of his older mics with DPA products. “Over the next year, we’re going to switch all of our AKG beltpacks to Shures. This means we need to update our mic inventory to add more d:screet Necklace and d:fine 4066 microphones for increased options for our speakers. Everything at our ministry and what we do to serve the community is very fluid, so we have to have solutions to accommodate that fluidity, and DPA is a big part of that.”

For more information about microphones from DPA, please contact our Sales Team at 847.367.9588 or