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Since founding Ace Audio in 1992, Mike Goodreau has grown his sound hire company to serve the differing needs of entertainment venues and events throughout New England. His six employees are constantly on the go for this well-regarded “first call” sound hire firm, delivering top-flight FOH and monitors for outdoor festivals, jazz cruises, corporate events, theaters, fairs, churches and regional touring acts.

Goodreau recently added Crest Pro 200 Series power amplifiers to his rental racks because of their light weight, compact size, durability, reliability and high-fidelity output. “Crest Amps have a long history of superior sound quality and reliability,” said Goodreau. “Crest Amps are requested on more tour riders than any other amp, so there is a far greater comfort level with Crest Audio amps when they leave the shop on a job.”

Given that Ace Audio provides sound reinforcement for the whole spectrum of venues and events, it’s no surprise that they often encounter less-than-ideal conditions. Case in point: unreliable electricity. It’s enough to drive a sound engineer crazy, but Goodreau has faith that his Pro 200 Series amps won’t let him down, even in the face of overwhelming AC adversity.

“We go into a lot of venues where maybe a sound system shouldn’t even go, like inadequate, generator-driven cruise ships with AC power and other venues with substandard low voltage,” said Goodreau. “Even when we don’t have enough electricity available, the Pro 200s, with their low current draw, always perform beyond expectations.”

Additionally, Goodreau points out, “The Pro 200 amps don’t trip breakers even when four of them are on a 20 Amp circuit. A huge advantage for us is not worrying, ‘Are the amps are going to cut out?’ when we know the power in the room is inadequate. Therefore, we’re free to concentrate and put our best effort into mixing the show.”

Goodreau’s crew also appreciates the portability of the Pro 200 Series amps. “Aside from the fact that the Pro 200s are less expensive than a lot of the competition, the light weight and compact size of the amps is a big plus,” said Goodreau. “We load the amps on and off trucks, drag them across fields and move them into clubs everyday. Believe me, we looked into all of the options for about a year before we made the switch, and we’re happy we went with the Pro 200 Series amps.”

The Pro 200 Series’ IGM Impedance Sensing and Automatic Clip Limiting (ACL) also helps Goodreau and his Ace Audio staff. “The IGM Impedance Sensing prevents overdriving the Pro 200s into hard clipping,” said Goodreau. “It’s a very unique amplifier protection circuit that’s a great feature for the rental market. It makes me a lot more comfortable when I rent the Pro 200s to people I don’t know. What I do know is the Pro 200s are going to come back in perfect working order, again and again, for a long time to come.”

All Crest Pro 200 Series amplifiers occupy 2RU and weigh 25 lbs. The Pro 8200 delivers 1450 Watts per channel (4500 Watts bridge mode) into 4 Ohms; the Pro 7200 provides 1000 Watts per channel (3300 Watts bridge mode); and the Pro 5200 has 525 Watts per channel (1800 Watts bridge mode). U.S. MSRPs are as follows: Pro 8200, $2630; Pro 7200, $1970; and Pro 5200, $1600.

Bob Jeremias has owned and operated Soundmaster for more than 12 years, providing sound hire services across the Greater Northeast. Jeremias and Soundmaster have used Crest amps for years with great results, and recently purchased five Crest Pro 8200s and two Crest Pro 7200s for their large, three-way and four-way FOH rigs.

Jeremias and his four employees deliver FOH and monitors for sold-out concerts featuring chart-topping entertainers, as well as corporate events for some of the world’s biggest and most recognizable brands. Soundmaster’s client list includes Mariah Carey, Funkmaster Flex, Sony Music, Reebok, Motorola, MCA, Tommy Hilfiger, Vibe Magazine and Teen People Magazine.

Since Soundmaster provides FOH and monitors for some of the biggest names in music, taking a chance with sound quality and dependability was simply out of the question. Jeremias has found the lightweight Crest Pro 200 Series power amps do not sacrifice high-fidelity output or reliability. “I love that the Pro 200 Series amps are lightweight, because they make it so much easier to move my racks in and out of gigs,” said Jeremias. “And the fact that they’re shallow is great. It’s really nice not needing a two- or three-foot-long rack case to house my amps.”

Jeremias has been quite impressed with the Pro 200 Series’ sonic performance. “It’s always a legitimate concern that the sound will suffer when you go to a lightweight amp, but my Pro 8200s and Pro 7200s sound as good or better than any other amp on the market,” he said. “Both models produce more bottom end than can be expected from other lightweight amps. A lot of guys in my position have been frustrated by the lack of bottom end generated by lightweight amps, but these new Crest Pro 200 Series amps solve that problem. I’ve run A/B tests with these amps against some of the heavier amps available, and the Pro 200s not only compare–they always sound better.”

After putting his Pro 8200s and Pro 7200s through their paces, Jeremias is confident that they’re extremely dependable and trustworthy performers. “They have been 100% reliable at 2 Ohms,” he said. “They are very efficient amps, and now matter how hard I’ve run them I haven’t been able to blow out a 20 Amp circuit, which is pretty significant considering how much power they generate. Blowing circuits and tripping breakers is a real killer in this business, especially when you’re running FOH for a large concert. Knowing that the Pro 200s will generate tons of power without blowing a circuit gives me great peace of mind.”

Keeping up with the changing demands of mixing a three-hour concert is a challenging task, but even more so once the lights go off and knobs, buttons and meters slip into darkness. That’s why Jeremias appreciates the new ultra-bright LEDs on the new Pro 200 Series amps. “It may seem like a small detail, but the new LEDs on these amps make a big difference,” he said. “They’re so bright that you could probably see them from the other end of a football field. They jump right out at you, and there’s no mistaking what’s on and what’s off, or what’s clipping.”

All Crest Pro 200 Series amplifiers occupy 2RU and weigh 25 lbs. The Pro 8200 delivers 1450 Watts per channel (4500 Watts bridge mode) into 4 Ohms; the Pro 7200 provides 1000 Watts per channel (3300 Watts bridge mode); and the Pro 5200 has 525 Watts per channel (1800 Watts bridge mode). U.S. MSRPs are as follows: Pro 8200, $2630; Pro 7200, $1970; and Pro 5200, $1600.

When NBA legend-turned-acclaimed jazz bassist Wayman Tisdale decided to leave basketball in 1997, it wasn’t a sacrifice, nor was it labored; it was a blessing. “I’ve always been inspired to make music my ministry,” he said. “After 12 years, it was simply time for me to go.” In Tisdale’s own estimation, he merely left his career to live his dream.

During Tisdale’s illustrious basketball career – during which he played on the 1984 USA Gold Medal Olympics team, became the first University of Oklahoma basketball player to have his number retired and appeared in 22 NBA playoff games – the lifelong musician showcased his melodic bass style on two chart-topping jazz albums, Power Forward and In the Zone. Tisdale has continued his growth as a musician since retiring from the NBA, releasing two additional albums and returning to his gospel roots as musical director of Friendship Church in Tulsa – a move that inspired his forthcoming album 21 Days. In the studio and on stage, the prolific, multi-talented Tisdale chooses Crest Audio gear for mixing and powering both his music and his message.

“When I’m playing in church, I want to have my system operating in excellence, just like when I’m out on tour,” he said. “That is where Crest comes in.” Tisdale uses the X-Eight(TM) professional front-of-house console to mix his church band, which at various times consists of bass, drums, guitar, organ, keyboard and vocals. “The X-Eight is so versatile, I can accommodate anyone who wants to come on stage without worrying about the sound quality or infrastructure.”

The Crest X-Eight console features four-band EQ with sweepable mids and high-pass filters on each input, a microprocessor-based muting system, multiple outputs and eight auxiliary mixes. It’s also manufactured to be resistant to RF interference and boasts a very low noise floor, taking the noise and hiss typical of other consoles out of the equation. “No one understood the difference between Crest and other manufacturers until they heard it themselves,” he said. “It sounds like I’m mixing a CD back there!”

On 21 Days, Tisdale also began using the Crest CA(TM) 9 power amplifier in his bass rig. “I’ve always been a believer in ‘more power equals more clarity,’ and I’ve always admired Crest’s amplifiers and consoles. As soon as I got the CA 9 in my rig, I was able to get this ultra clean top end. I took a completely different approach on the new album – more melody and more ‘sweet’ notes, but still edgy – and the CA 9 gives me room for more of the punch I need, with twice the power of most bass amps.”

Tisdale has managed to combine his secular interests with his ministry on 21 Days, the Stanley Clarke-influenced bassist’s first gospel album, which he recorded himself in three short weeks. “I try to keep my music pure at all times,” he said. “Even if I’m doing jazz music, I’m just trying to keep it moving forward. I write from the heart – it’s not a compromise.”

The newly christened music minister isn’t giving up his passion for jazz, though. “You gotta have variety,” he offered. “But my church gig is a lot of fun. It’s just intense. I’m becoming more versatile; I want to be an artist, but I feel that my strengths are much more than that.”

In summer 2003, Tisdale will embark on a tour of non-secular venues with a gospel group in support of 21 Days, and will continue writing, producing and recording music for artists including Mike Phillips and Keith Young, as well as his own projects.

The Mix Foundation for Excellence in Audio honored Crest Audio with a nomination for its 19th Annual Technical Excellence & Creativity (TEC) Awards, to be held Oct. 11 in New York City. The Pro 200 power amplifier series is nominated in the Amplifier Technology category.

“Just to be nominated for a TEC Award is quite an honor,” said Crest general manager Rick Gentry. “Our engineers have worked very hard to keep the Crest sonic advantage, and it’s what has made the company famous. We did very extensive field-testing on the Pro 200 Series amps to ensure their road-worthiness and reliability, and they’re just the beginning of many new and innovative product designs to come.”

The Pro 200 Series professional power amplifiers offer Crest’s renowned sonic integrity and can handle exceptionally high power ratings (4500 W bridged on the Pro 8200) in a compact, lightweight (25 lbs.) 2RU package. The Pro 200 Series amps also feature Automatic Clip Limiting (ACL) to protect connected drivers; IGM Impedance Sensing to accommodate varying impedance outputs; tunnel-cooled, high efficiency heat sinks; and variable-speed DC fans to limit the operating temperature and extend amplifier life. Models in the series include the Pro 8200, Pro 7200 and Pro 5200.

Founded in 1985, the TEC Awards is the foremost program recognizing the achievements of audio professionals and honoring the individuals, companies and technical innovations behind the sound of recordings, films, TV shows and live performances. TEC Awards nominations are made by a panel of industry professionals and voted upon by the subscribers of Mix, a leading trade magazine of the recording and sound production industry. The awards are presented each fall during the annual convention of the Audio Engineering Society.

Spectrum Design Group, a leading house of worship multimedia, audio and lighting systems integration firm established in 1992, continually relies upon Crest Audio X-VCA(TM), X-8(TM) and V-12(TM) mixing consoles to help churches evangelize the Word of Jesus Christ. From 1999 through 2002, Spectrum Design Group led the nation in sales of Crest Audio V-12 mixing consoles. Crest Audio will be on display at the 2004 Winter NAMM Expo in Anaheim, Calif., January 15-18, 2003, at exhibit #6874, hall A.

Spectrum Design Group founder and president Thomas Johnson, a devout Christian and former musician with a wealth of touring experience, understands the uniqueness and demands of Christian Worship services. A new generation of churches, such as the Crossroads Church in Vancouver, Wa., the Bethany First Church of the Nazarene in Oklahoma City and Life Church in Mission Viejo, Calif., offer morning services that are liturgical in nature, while afternoon and evening services feature a very contemporary rock ‘n’ roll format.

In order to handle long duty cycles and the diverse live and prerecorded program material, Johnson relies on professional audio equipment whose reputations were forged in the fires of the unforgiving road and infinite concert tours.

“The advanced multimedia-based services of today must be supported on a rock solid foundation of quality audio performance, otherwise the service?s message will be compromised,” said Johnson. “Crest Audio mixing consoles continually provide my clients with the durability, versatility, ease of use and unrivaled sonic quality that they, as well as the Lord?s Word, demands. When you factor in the V-12’s feature-rich design compared to its price point, the V-12 actually delivers more benefits at a much higher level of quality. I consider the V-12 to be the finest analog console ever conceived and I would never compromise the audio backbone of my clients’ worship services to any other desk.”

Crossroads Church in Vancouver uses a Crest Audio V-12 46×6 console with a 28-input sidecar at the front-of-house mix position, and a Crest Audio Century LMx 52×22 for the monitors. The Bethany First Church of the Nazarene uses a V-12 48×4 with a 28-input sidecar at the front-of-house position, and the Life Church uses a V-12 48×4 console at the front-of-house position.