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FrontoFHouse Fro

Saving the from Deadly Acoustic Environments

5 5 7

Harman International agrees to buy lighting manufacturer Martin for 110 million Euros Fiber Optic Association issues alert on fake Cat-5 cabling Former employees plead guilty, repay mishandled funds to Yorkville Sound

BREndan SHanlEY

Veteran live sound engineer James Gebhard has followed The Killers into various chambers of acoustic horrors around the globe. A Martin Audio MLA system supplied by Capital Sound across the Atlantic and Delicate Productions in the U.S. is the latest secret to his survival.

FOH engineer Rick Camp mixes Jennifer Lopez Dance Again tour



Tech Preview

PreSonus StudioLive AI-series Active Integration Loudspeakers

Top Tours of 2012
Crew and gear supporting the biggest moneymakers. Pictured here: Madonnas list-topping MDNA.

H.O.W. Upgrades
Courtney Klimson shares eight steps to success. and, on page 50, budgeting tips from Jamie Rio.

Road Tests
Evan Hooton checks out VUEs a-Class speakers. On page 46, george Petersen sound-checks Rupert neve.

a s u o i r e ss i Y E R F MARTIN

n o i t a c f i t r e C d e R t bou

I took EAWs frst-ever Red Certifcation class because the EAW system works fawlessly for me on the road. If you follow the process step by step, you get absolutely consistent, absolutely predictable performance out of the most badass line array system on the planet the KF740. Martin Frey
EAW Red Certication training presents KF740 owners with a comprehensive toolkit that lets them design, implement and optimize KF740 arrays that deliver consistently excellent performance. The toolkit includes: KF740 line array modules Resolution design and modeling software Powercube power and processing racks Powertools measurement and optimization tools w w w . e a w . c o m


47 On the Digital Edge
We all do the occasional one-offs, but how often do you get a call to do mix a 45-minute show for Cher... in Russia? In this rst installment, David Morgan recalls the experience.

Vol. 11.04

24 Showtime
FRONT of HOUSE takes its annual look back at the Top 10 tours of the past year, as ranked by Billboard.

28 Acoustics Basics
This month, our resident scientist Phil Graham examines some basic principles that may help you understand why certain rooms sound great, while others... sound less great.

48 The Biz
Dan Daley speaks with Danny Abelson about Zeehi, his new company, and CueCast, which provides le-conversion services for interchanging mix data between consoles made by different manufacturers.

George Petersen chats with seasoned FOH mixer Rick Camp, who returned on the road with Jennifer Lopez for the overseas segment of her highly successful and spectacular Dance Again world tour.

30 Production Profle: J-Los Dance Again

50 Sound Sanctuary
Jamie Rio discusses ways of planning and budgeting for a new sound system, with a simple trick that makes it all affordable to nearly any congregation.


When custom-molded earpieces are not an option, universal ft IEMs are a good solution. Heres a look at the latest.

Buyers Guide

34 Tips & Tricks: Headset Mics

Omer Inan reveals some clever and creative new ways to use headworn microphones that go well beyond the usual, with great results!

36 Production Profle: The Killers

FOH engineer James Gebhard, whos been bringing the sounds of The Killers to sold-out arenas for years, talks about mixing these popular rockers and his experiences using Martin Audios innovative MLA rig.

Baker Lee ponders the new tax laws and how they might affect you, small businesses and the music industry.

52 FOH-at-Large

38 Upgrading H.O.W. Facilities

Masque Sounds Courtney Klimson offers a practical eightstep checklist for upgrading the audio within any worship space.

4 Editors Note 5 Industry News 18 Global News 21 On the Move 22 New Gear 24 Showtime
Business, Editorial & Advertising Ofce 6000 South Eastern Ave. Suite 14J Las Vegas, NV 89119 Ph: 702.932.5585 Fax: 702.554.5340 Circulation Stark Services P.O. Box 16147 North Hollywood, CA 91615

40 Tips & Tricks: Waves and Midas

FOH engineer for many top acts, Joel Lonky outlines his method of accessing Waves plug-ins directly from his Midas PRO9 console.

44 Tech Preview
George Petersen has the scoop on the cutting-edge developments used in PreSonus hot new line of live sound speakers and 32-channel StudioLive mixer two products to be unveiled at this months NAMM show.


Columnist (and veteran FOH engineer) Steve La Cerra offers some advice on miking acoustic guitars.

Theory & pracTice

45 Road Test: VUE a-Series

VUE Audiotechnik debuted its new speakers last summer with a splash, and Evan Hooton puts one of the rst rigs off the production line to the test.

46 Road Test: Rupert Neve 5045

A legend in studio gear offers a box designed for sound reinforcement applications, and FOH checks it out in live performance.

Front Of House (ISSN 1549-831X) Volume 11 Number 4 is published monthly by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV, 89119. Periodicals Postage Paid at Las Vegas, NV and additional mailing ofces. Postmaster: Send address changes to Front Of House, P.O. Box 16655, North Hollywood, CA 91615-6147. Front Of House is distributed free to qualifed individuals in the live sound industry in the United States and Canada. Mailed in Canada under Publications Mail Agreement Number 40033037, 1415 Janette Ave., Windsor, ON N8X 1Z1. Overseas subscriptions are available and can be obtained by calling 702.932.5585. Editorial submissions are encouraged, but will not be returned. All Rights Reserved. Duplication, transmission by any method of this publication is strictly prohibited without the permission of Front Of House.
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New Years (Audio) Resolutions!

elcome to 2013! By If youve GeorgePetersen made it this far already, youre gonna make it all the way, so this is a good time to start thinking about the days, weeks and months ahead.


Here at FRONT of HOUSE weve already got of to a good start, with our amazing art staf coming up with a sharp new graphic design that makes articles easier to read, with faster access to what you need and a cool new look. Hope you like it! Everybody makes New Years resolutions you know, time to refect on self improvement promises, such as renewing that gym membership you bought last January and only used twice, eating healthy, dropping a couple pounds or maybe cutting back on binge drinking, smoking or mainlining heroin. All those are lofty goals, but whats really important is audio, and a fresh new year is a perfect time to dial in your expectations for sonic enhancements for 2013.

Something New!

what you need and set some gear upgrade priorities for the year. Its also a great time to reassess your systems maybe looking at a new A rig, while you rotate the old A system down to the B system, the C down to the D, and so on. And as for your old, former D rig... theres always Craigslist, or at least some worthwhile organization somewhere that can use a donation. The same applies to consoles and every other component. For example, if youre still hauling a truckload of copper around, this might be an excellent opportunity to look into the many advantages of digital snakes, which are not only lightweight but also ofer the advantage of multiple splits, etc.

The M Word: Maintenance

This isnt the exactly the glamour part of the biz, but while youre taking that wellearned breather after all those December holiday one-ofs and New Years gigs, a little maintenance is probably in order. A few hours with a basic cable tester and some visual inspection for simple things like gashes in jacketing or loose set screws on XLRs can avoid problems in the feld. The same applies to going through your cabinets, checking I/O panels, and identifying drivers with burned voice coils and blown diaphragms. Simply tightening loose

If you operate a sound company, January is a perfect time to examine what you have,

Earlier, weve mentioned data networking, but networking has another side as well human interaction. Online forums (such as offer ample opportunities to converse, chat and exchange information and opinions with other audio professionals. Of course, nothing quite re Think Smart! I know that thinking outside the box places actual face-to-face interactions, and has developed into a tired clich, but maybe tradeshows such as this months NAMM (, theres still someMusikmesse/Prothing to be said Whats really important light+Sound (pls. for it. If theres one is audio, and a fresh new m e s s e f r a n k f urt. thing Ive learned year is a perfect time to com), InfoComm over the years, its dial in your expectations (, that theres always a for sonic enhancements the aforemenworkaround for any for 2013. tioned AES and (well, nearly any) LDI ( problem you might should also be face. This month, ace FOH engineer Joel Lonky talks about his on your list of things to check out. All of creative approach to running his favorite suite these offer opportunities for both attendof Waves plug-ins on a Midas PRO9 console ing educational seminars and programs, as on page 40. On a similar note, Omer Inan dis- well as a chance to check out new gear in cusses some slick new techniques of using a hands-on, close-up and personal environheadset mics (see page 34), presenting some ment. Beyond that, tradeshows are a great ingenious solutions to common situations that chance for meeting up with colleagues and many of us face every day. But we all also face friends both old and new, probably the some tough non-technical issues as well and best kind of networking of all. on page 52, Jamie Rio outlines a great idea for making house of worship sound system up- Live. Live! grades afordable to congregations of any size. So far weve discussed resolutions related And if any of you have a creative solution youd to business and professional goals, but during like to share, drop me a line here and well talk 2013, make a pledge to take a little time out for about it. yourself to share with your friends and family. Or maybe set aside a half hour or so to enjoy a sunset. Get out and enjoy life. And have a great Explore! Most of us are pretty fuent in things like 2013! signal fow, mic selection and gain structure, but how many of us really have a profession- Email George at al-level fuency in technologies such as MADI, AVB, audio-over-Ethernet (CobraNet, Dante, EtherSound, etc.), Wi-Fi networking/control, LANs, AES3, AES-X196 and dozens of other emerging protocols. Keeping current is part of staying successful, and organizations like SynAudCon (Synergetic Audio Concepts, and AES ( present excellent resources for keeping up with this Catch Georges commentary at, or wave of change and are worth exploring. click on the picture from your digital edition.

driver connections can signifcantly improve performance. While Im at it, I usually hit everything with a quick blast of a contact enhancer, like Caig DeoxIT, just to be sure. Either way, its better to uncover problems now, rather than when you arrive at that next big gig.

The Other Networking

Publisher & Editorial Director Editor Managing Editor

Terry Lowe

Production Manager Web Master PAS Blog Master National Advertising Director National Sales Manager

Mike Street

George Petersen george@ Frank Hammel

Josh Harris jharris@ Evan Hooton Greg Gallardo

Senior Staf Writer Kevin M. Mitchell Technical Editor Contributing Writers Phil Graham

Dan Hernandez Matt Huber Mike Devine William Hamilton Vanyo

Dan Daley, Steve Jennings, Steve LaCerra, Baker Lee, David Morgan, Jamie Rio

Sales Manager Sales Manager

Art Director

Garret Petrov General Manager


OSU Stadium Gets First LEO Installation

Mumford & Sons Live Concert Recording Setup

Story on Page 10

Story on Page 14

Harman Agrees to Purchase Lighting Manufacturer Martin Professional
STAMFORD, CT Harman International announced that Aktieselskabet Schouw & Co. (corporate parent of Denmark-based Martin Professional) agreed to sell Martin to Harman for 110 million Euros (approx. $146 million). The transaction is subject to customary closing conditions, including regulatory approvals. and is expected to close in Q1 2013. We look forward to welcoming the talented employees and dynamic innovations of Martin Professional to the Harman organization, said Dinesh C. Paliwal, Harman chairman/president/CEO. Martin president Christian Engsted added We are excited at the prospect of a strong integrated solution incorporating Martin Professionals products with Harmans pro audio brands and technologies. Martin Professional will continue as an independent business unit within the Harman Professional Division, with the existing points of contact.


12.12.12 raised more than $50 million for storm victims.

Sandy Relief Concert Gets Help from Firehouse Productions

NEW YORK Firehouse Productions provided JBL VTX Series line arrays powered by Crown I-Tech HD Series programmable amps for 12-12-12: The Concert for Sandy Relief at Madison Square Garden. The Dec. 12 fundraiser for the Robin Hood Relief Fund featured Paul McCartney, Eric Clapton, Bruce Springsteen & the E Street Band, Roger Waters, Bon Jovi, Billy Joel, Alicia Keys, Kanye West, The Rolling Stones and many others. To fill the 18,000-seat Garden, sound reinforcement contractor Firehouse Productions (Red Hook, NY) deployed a large JBL VTX Series rig including two main left and right PA columns of 18 V25 full-size line array elements, complemented by two outfill arrays of 12 V25s, with four VerTec VT4886 subcompact line arrays serving as under-hangs. Eighteen S28 and four G28 dual 18-inch cardioid arrayable subwoofers were ground-stacked to complete the VTX installation. All the speakers were driven by Crown IT12000HD ampli-

Alert Issued on Counterfeit Cat-5

By GeorgePetersen

fiers with system control provided by JBL HiQnet Performance Manager software. Although weve done many high-profile events, its not every day we get to do the sound reinforcement for a concert thats broadcast around the world to more than a billion people, said Firehouses Mark Dittmar. Wed been using JBL VerTec line arrays for more than a decade and that product has been spectacular in terms of sound quality, relative light weight and versatile rigging options.

In fact, the low-end from the VTX V25 main arrays is significantly increasedto the point where were not flying subs with the system. We stacked the S28 and G28 subs on the ground to give the system additional low-frequency impact but we did not need to fly subs as part of the main array columns as we have in the past. The JBL HiQnet Performance Manager software makes setting up and controlling the system a lot easier and more accurate. In fact, the 12-12-12 show was only the second time we had ever used Performance Manager the first being the Z100 Jingle Ball 2012 at the Garden the week before. It worked perfectly, added Dittmar.

LAS VEGAS Dim lighting conditions

and backstage hazards have always been a dangerous mix. A fresh reminder came Nov. 19, when Matthew Moore, 35, sufered a broken arm, head and neck injuries after falling into the 20-by-20-foot, two-story loading pit, used in preparation for Shania Twains Still the One series of shows at Caesars Palace Colosseum, which opened Dec. 1.

Shania Twain Crew Accident Highlights Need for Vigilance

Moore, an IATSE audio tech and A2 working on the show, wasnt the frst backstage worker to require hospitalization after falling into the pit. According to a report in the Las Vegas Review-Journal, an audio tech working on the set for Americas Got Talent sufered a badly fractured ankle from a fall there on Oct. 25, 2011. Moore, who didnt regain consciousness until he was in the hospital, couldnt recall the moments immediately prior to the accident. In the LVRJ article, he noted that while audible warnings were sounded every time the lift had been lowered, temporary barriers to warn of the drop-of were not deployed as consistently. A backstage veteran who has supported productions since he was 16, Moore is recovering at his home in nearby Pahrump, NV.

FALLBROOK, CA The Fiber Optic Association (, a non-proft educational organization dedicated to promoting professionalism in the fber optics industry, has issued a new video on the dangers of counterfeit Cat-5 cabling. As the audio industry becomes more dependent on audio over Ethernet (AoE) and high performance LAN networking, the integrity of A bulk cabling box that data is with counterfeit cabling an essential part of our livelihood. We wouldnt pass mic signals using cheap, narrow gauge coax with substandard conductors, so why turn to just anything in terms of Cat-5 cabling, when your entire production is at stake. Poor quality cabling can lead to audio and data dropouts and other irregularities. Its bad enough in a portable sound system and can be a disaster if used in an within the walls of an installation. An infux of cabling fraudulently marked as Cat-5 and UL approved
Continued on page 6 2013 JANUARY


White House Christmas Tree Ceremony Gets a Makeover

With Washington DC in general and the White House grounds in particular, highly saturated RF signals is a given. The intangible curve balls included state security, plus we had to coordinate with the National Park Service for media, Snyder added. We had to make sure that the media press packages included notifcation that they werent allowed to use any unauthorized wireless because there were virtually no frequencies left unused. Entertainers included Kenneth Babyface Edmonds, Ledisi, Jason Mraz, James Taylor and The Fray plus President Obama himself, who warbled a version of Santa Claus is Coming to Town along with First Lady Michelle Obama and daughters Malia and Sasha. (No comment from the White House as to whether hed consider Auto-Tune for any future impromptu performances.)

WASHINGTON, DC The White House Christmas Tree Lighting Ceremony involves more than a fip of a switch. A lot of other switches are fipped, knobs turned and faders moved before, during and after this increasingly complex presentation. Theres a live audience of 18,000, a televised audience of millions, U.S. park rangers, the White House, scores of Secret Service agents and the President and his family. The evolution of the tree lighting has been dramatic, said Maryland Sound Inc.s Matt Snyder, who has been involved in 23 of the tree lightings. It went from a simple afair, almost just local, to having a clip on the evening news and then a full-blown TV hour. This year, the show ramped up, with three stages, and FOH Barry Warrick handling main mixing duties. This year we used JBL VT4889s and 4800 subwoofers, Snyder said. The console of choice was a Yamaha PM1Ds, with a second

A recording of the event is posted at

used for the monitors. Monitor wedges were MSI proprietary HEX-15s which were awesome were very proud of those. The wireless gear arsenal included Shure UR systems.

iPad Meets Professional Digital Mixing Console

Introducing the next Roland V-Mixer The M-200i Live Mixing Console
A powerful solution ofering the fexibility and mobility of comprehensive iPad control fused with the precision of a professional digital mixing console. 32-channel digital mixer (controllable with or without iPad) 17 motorized faders, dedicated buttons and knobs for key functions 24 onboard inputs and 14 outputs - expandable up to 64 x 54 Wireless or wired iPad control Easily expandable to include personal mixing and multi-channel playback/record
Complete control even without an iPad. Touch and turn control.

See us at NAMM booth #302A

Expandability with any REAC device.

nounced that Starin Distribution, based here, is now distributing Turbosound products in the U.S. Starin serves customers in North America from ofces and rep frm alliances across the country. Were excited to have Starin handle Turbosound products in our market, said Jay Easley, AVP customer support for Music groups pro division. Starins thoroughly professional organization and ability to meet customer demands quickly and efciently will be a huge boost to Turbosounds market presence. According to Turbosound marketing director Martin Reid, Our aim is for customers in the U.S. to perceive Turbosound not as an import but as virtually a home-grown brand. Technical support, spare parts supply and day-to-day North American operations for Turbosound will be run from Music groups recently opened Las Vegas ofce. In related news, Sean Martin was named head of international sales for the Turbosound brand. Martin is rejoining Turbosound, having worked there in the 1990s. He takes over for outgoing sales director Dominic Harter, who recently rejoined Harman as head of global sales for Soundcraft.

Starin to Distribute Turbosound in the U.S. CHESTERTON, IN Music group an-

Counterfeit Cat-5 Cabling Alert

iPad not Included

Continued from page 5

has surfaced, yet these often contain substandard product that does not meet fre safety standards, durability or performance specs. Some are made with copper-clad aluminum (or steel) conductors. Outwardly, they look like genuine copper wiring, yet in use, they are likely to exhibit poor conductivity, create problems making punch terminations and too much resistance to support Power-Over-Ethernet applications. It doesnt stop at the conductors, as counterfeit cabling may use insulation and jacketing materials that have increased fammability and may emit toxic fumes when burned. To increase awareness of the dangers of counterfeit cabling, the FOA has released a video that covers ways of identifying fake (and genuine) cables and demonstrates the problems that arise when this substandard product catches fre. The video is available on YouTube at


Watch our interview with NAMM CEO Joe Lamond at, or click on the picture from your digital edition.

2013 NAMM Show Broadens Focus

ANAHEIM, CA The 2013 Winter NAMM Show, set to take place at the Anaheim Convention Center Jan. 24 to 27, has expanded beyond its traditional focus and now counts major pro lighting and sound companies among its exhibitors. NAMM will also include a wide array of training and demonstration opportunities for live entertainment technology professionals. Massive changes in the recorded music industry have made live performance more important than ever for artists. And its a natural progression for NAMM to provide business-to-business platforms for these growing markets, said NAMM president/CEO Joe Lamond. Increasing numbers of front-of-house professionals from entertainment venues, houses of worship, theme parks, casinos and schools send their operations managers, buyers, sound engineers and technology directors to make buying decisions for the latest pro light and sound products at NAMM. This mix of the traditional and

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non-traditional bodes a full slate of potential customers and vibrant commerce. Hands-on training sessions geared toward lighting/sound professionals will be presented in NAMMs H.O.T. Zone, including the Practical Sound Design in Worship session led by Sennheiser at 11 a.m. on Jan. 26. Other changes at NAMM include moving registration into surrounding hotels, with the lobby space now hosting an exclusive Member Center, digital media hub, new product showcases and more. With the show extending to the outer glass doors, entrances to the halls will be open and there will be fewer ID checks once inside the convention center. Lighting, touring and sound will take center stage in The Venue, the Convention Centers actual arena performance facility, and a new Grand Plaza a pedestrian zone between the Hilton and Marriott hotels will host an outdoor stage and a large open area for networking. For more info, visit NAMM at

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INDIANAPOLIS The state of Indiana

Indiana State Fair Roof Collapse Victims Receive $6M More from State

distributed an additional $6 million in payments to victims afected by the collapse of the roof structure in high winds at the Indiana State Fair on Aug. 13, 2011. The additional funds brings the total paid by the state in the aftermath of the collapse to $11 million. Indianapolis General Assembly approved the additional funding, which goes beyond the states $5 million limit in tort claims cases. The state previously compensated victims who had injuries requiring permanent care. The new funds were distributed to those who received non-permanent injuries. Indianas state legislature also approved an additional $700,000 payment to survivors of the seven people killed in the collapse. Prior to the additional funding, each estate for the seven people killed had been given $400,000. Most of the surviving family members and the 60 people injured in the collapse agreed to accept payments from the state in lieu of suing the state for more damages. Their acceptance of the payments does not preclude them from suing others, and numerous lawsuits related seeking damages from the stage manufacturer and band are still pending, according to reports.

published in the Livingston County News, Phil Betette and Terry Sherwood, the founders of pro audio companies MXR and ART (Applied Research & Technology) and former employees of Yorkville Sound, have pleaded guilty to misdemeanor petit larceny charges and repaid some $400,000 in allegedly mishandled funds. The pair had originally been charged with felony grand larceny regarding some $700,000 in unauthorized spending, but after mediation with the Livingston County district attorneys ofce, settled with Yorkville for the smaller amount and accepted the lesser misdemeanor charges. Prior to their dismissal, Betette had been Yorkvilles sales manager and Sherwood was the companys accountant. We were very unhappy to fnd out about this clever scheme, but it defnitely explained some of the issues we had been experiencing over the years, said Yorkville president Steve Long. We have many good long-term employees that stepped up to the plate to fll the void, and we feel very positive moving forward. Weve always run our organization by putting trust in our employees and give them a lot of latitude. It is very disconcerting when this trust is abused, however, we will continue to run our business in the same way, and the actions of a few will not change the way we do business.

Yorkville Larceny Case Settlement Announced GENESEO, NY According to a report

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Offroad bre system, IP68 protection class


Audio Video Broadcast Media Technology HiFi 2013 JANUARY 7


DALLAS, Texas After four years of hold-

INDUSTRYNEWS Clair Bros. Installs System for New Dallas Church Expansion
ing services in its 2,100-seat interim worship center, Watermark Community Church, based here, has moved its congregation into a new 3,500-seat main sanctuary. Acoustic Dimensions once again served as the consultant for the client and once again specifed an L-Acoustics KUDO loudspeaker system, which was installed by Clair Bros. Audio Systems. With the previous worship space currently being renovated into a two-story childrens building, its dozen KUDO enclosures were moved into Watermarks new sanctuary and supplemented to create a new system built around left and right arrays of eight KUDO fanked by LF arrays comprised of six SB28 enclosures. Just to the outside of the subs on both sides are three additional KUDO eas. A combined total of 19 LA8 amplifed controllers power all systems. Acoustic Dimensions senior consultant-VP Robert Rose credits the frms Casey Sherred for his audio design work and Soundvision for the modeling, schematics and fnal tuning of the system. Casey worked very closely with the architect and came up with a very efec The church installed an L-Acoustics KUDO system tive solution for an acoustically difcabinets fown in a horizontal confguration cult environment with a lot of highly refective to address the outfll areas of the wide fan- wooden surfaces. Even though we technically shaped seating area. Five mini-arrays each gained over a thousand seats in the new space, featuring three KIVAs are fown above the the design and gear we used helped preserve balcony for delay, while a pair of coaxial 12XT the intimacy and presence that made the previenclosures targets the far corner balcony ar- ous room an engaging place.

The artist is touring with a NEXO GEO S12 system.

Sound Works Productions Supports Andy Grammer

NAPERVILLE, IL Known for his vibrant pop/rock/soul mix and free-fowing vocals, Andy Grammer is an acclaimed singer, songwriter and musician who reached the Top-10 at Adult Pop Radio with his frst two singles: Keep Your Head Up and Fine By Me. Nearing the close of his 2012 tour, Grammer recently performed at North Central Illinois College in its 825-seat Wentz Concert Hall. Sound Works Productions (Frankfort, IL.) provided a Nexo GEO S12 system, ground stacked on the stage. The house rig consisted of ten GEO S1210s, four RS18 Ray Subs, four PS10s and three 4x4 NXAMPs. For monitors, the company provided three RS18s for sideflls/drum subs, two 4x4 NXAMPs and a Yamaha M7CL digital console. Anytime Im remotely close to Chicago and need production elements, I want Sound Works there with the GEO S12, said Grammers FOH engineer Kevin Flasza. Andy puts on a very dynamic show, and the Nexo rig remains transparent through our entire set and easily allows me to reproduce the delicate details I need to highlight. What more can I ask for? The GEO S12 reigns supreme when it comes to that size format.

Tajci Finds Touring Solution

FRAMINGHAM, MA Croatian migr Tajci has been flling venues ranging from small church spaces to 1,000-seat auditoriums with inspirational music. Tajci tours with three L1 Model II systems each one a 24-speaker articulated line array that delivers 180-degree horizontal sound coverage three B1 bass modules and three ToneMatch audio engines, a digital multichannel mixer specifcally designed for use with all Bose L1 systems that feature over 100 proprietary ToneMatch presets for instruments and microphones and include Bose zEQ, storable scenes and a suite of studio-class efects. These nine components are all Tajci needs to take on the road to accommodate virtually all of her live sound needs. Because we can play with speakers behind us, the audience is hearing what were hearing on stage, Tajci said, and because of the degree of control that the T1s give us, that sound is like listening to the speakers in a recording studio.


OSU Football Stadium Gets First LEO Installation

The Meyer Sound system is designed to cover the entire 105,000-seat stadium.

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COLUMBUS, OH The Ohio State Buckeyes football team, which recently fnished an undefeated 2012 regular season, got an audible boost from its new Meyer Sound LEO linear large-scale sound reinforcement system. Representing the frst-ever permanent LEO installation, the sound system flled 105,000seat Ohio Stadium with spoken word and music over the loud cheers of the crowd for all eight home games. The core LEO system is anchored by twin hangs of 14-each LEO-M line array loudspeakers with bass bolstered by ten 1100-LFC low-frequency control elements. A Galileo Callisto loudspeaker management system with two Callisto 616 array processors supplies drive and optimization. Mounted inside the video screen scoreboard structure at the south end of the mammoth oval, the new LEO system projects sound across the bowl, reaching over 900 feet to the top seats on the north end. Designed by Larry Lucas of Anthony James Partners of Richmond, VA, the upgrade also includes six Meyer Sound SB-3F sound feld synthesis loudspeakers aimed at the very far reaches to boost high frequencies, two UPA-1P loudspeakers for under-scoreboard near-fll and two Galileo 616 processors for system management. Ohio States Wayne Stephens is pleased with the results: The LEOs have plenty of headroom, the 1100s kick butt in the lowend, and the new SB-3Fs are throwing tons of SPL at almost 1,000 feet. Its even better than expected.

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Jose Luis Perales Finds Personal Monitor Solution

For more than four decades, Jose Luis Perales has been making waves on the Latin music scene, selling more than 50 million copies of his music. On his current tour, monitor engineer, Miguel Arbo and FOH engineer, Miguel Torroja have found the myMix personal m o n i to r i n g system to be a valuable tool. Consisting of eight myMix, an IEX 16L input expand The Latin artist is using myMix gear. er and the myMix Control, the myMix system ofers the functionality, fexibility and consistency the two engineers needed. During the tour, the system was shipped on 50 different flights to 10 different countries to more than 35 shows without a single problem or failure. This is a very reliable tool that is intuitive and comfortable to use while providing so many possibilities, said Arbo, multi-track recording, effects, EQ, sending the outputs to wireless, two XLR inputs with phantom power I could go on and on.

1500 watts of built-in Class D amplication Lightweight, portable polymer cabinet Proprietary hemi-conical horn for even venue coverage Frequency shaping controls, high-pass lter Vega Bass boost Built-in mixer with multiple I/O connections for easy set-up Adjustable pole mount and threaded hang points support permanent and portable use Use it alone, in pairs, as a oor monitor or with the P1800XS

For more information go to

2013 Cerwin-Vega! All rights reserved.




TVXQ at Tokyo Dome, Japan. Rental Company: MSI Japan
Our award-winning MLA cellular technology turns the line array world on its head. With computer control of up to 144 individually-powered cells in a 24-box array, MLA delivers the engineers mix throughout the venue with a precision not achievable with conventional line arrays. In venues such as the 55,000 seat Tokyo Dome, MLAs automated software holds both SPL and frequency response within a very tight window out to the most distant tiered seats without delays.

MLA: The Cellular Revolution

For more information on the revolutionary MLA, visit

All information is Copyright 2012 Martin Audio Ltd. Martin Audio is a registered trademark of Martin Audio Limited in the UK, US and other countries.


Enhanced Sound for Virginia Church

STAFFORD, VA This years holiday services at Ebenezer United Methodist Church here were enhanced with a new Yamaha CL5 digital console purchased from Irving, TXbased Sound Productions. The church, which ofers traditional and contemporary services within its 500-seat sanctuary, also purchased two Yamaha Rio input/output racks in time for its annual holiday productions. Our decision to replace our existing analog console was based on three major factors, states James Mills, director of technology. It had to be a digital console, as we have a tight turnaround of 15 minutes between services, and using an analog board to get accurate sound levels at each service would be difcult. The console had to physically ft in a tight space. And, as a church, we want-

Sound Productions installed a Yamaha CL5.

ed to spend our money as wisely as possible, so looking at the long-term picture, it made sense to go with the CL5 knowing there would be plenty of room for growth. While he never had direct experience with Dante before the CL5, Mills was familiar with what it could provide in terms of audio networking and the ability to tap into the network for multi-track recording. Dante gave us the assurance that this was the console that would take us well into the future. The church has an average weekend attendance of about 1,200 across fve services. With no other audio changes to our system, the diference in sound from our old analog console to the CL5 is huge, said Mills.From the pastors to the choir and band, the new console has brought to us a new standard of clarity and natural sound we had not heard in our sanctuary before.





Brea Civic and Cultural Center Upgrades Gear

The improved sound system includes QSC Q-Sys.

Personalize with Custom Shop | Tour ready Customer Support | Ultra Comfortable Flex Canal





recently completed an upgrade to the inhouse music playback and paging system at Brea Community Center that included a QSC Q-Sys Core 250i processor and two additional CX Series multichannel amplifers. The new, lower-cost DSP system controls multi-zone paging and playback. This was one of the very frst installations of the lower cost Q-Sys Core 250i, notes TSC president/owner Devin DeVore. The accessible price point of the new cores opens up Q-Sys to a host of new facilities, he said, adding, we like the platform, and we like its possibilities. TSC retained the previously installed QSC Audio CX Series multichannel amplifers and added two more CX Series amps a four-channel and an eight-channel. Using the DataPort cables we were able to link into the network, so we have load monitoring and system performance data that shows up on the app, too, so that the facility staf can make sure that everything is working and that there are no blown speakers, DeVore said.

BREA, CA Trinity Sound Company (TSC)

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12 JANUARY 2013

INDUSTRYNEWS Science Center Marks 50-Year Anniversary with New Sound System
SEATTLE Celebrating 50 years since it was originally established as the U.S. Science Pavilion for the 1962 Seattle Worlds Fair, the Pacifc Science Centers Eames Theater was refurbished. Along with an expanded capacity to ofer 2-D and 3-D flms, the theater has new digital sound systems and new seating. The PACCAR IMAX Theaters secondary sound system includes an Allen & Heath GLD-80 digital mixing console and AR24-12 audio rack. The 320seat theaters new lecture sound system was designed and installed PACCAR IMAX Theater staf member Jenn Bentz with the Allen & Heath GLD-80. by Morgan Sound, an A/V integrator serving the Pacifc Northwest for nearly 40 years. The project had an unusual challenge: to preserve the architectural integrity of the historic building while bringing state-of-the-art technology to the space. We chose the GLD-80 for its fexibility, versatility and value, and because we knew it could be installed in a noninvasive manner, said Morgan Sounds Charlie Morgan. Several components including the 48 channel count, Cat-5 snake, powerful EQ, intuitive nature and ability to expand at a future date made the Allen & Heath system the perfect ft for this venue. The AR24-12 is installed in the IMAX projection room and the GLD-80 controller can be moved anywhere in the room to ft the needs of any event.Four wall plates were also added in the theater making it an easy-to-use, plug-and-play system.

Toby Keiths Country Music/Food Outlets Go Digital ROSEMONT, IL Michigan de sign/build firm LiveSpace speced Midas PRO2 consoles for use in several of Toby Keith-branded outlets serving up food, drinks and live music. The outlets are called Toby Keiths I Love This Bar & Grill, after the singers 2003 hit, I Love This Bar. The important factors for the Toby Keiths chain revolved around great sound, rider friendliness, versatility and ease of operation. We looked at everything on the market, but when the PRO2 was announced, the only real question was delivery date. For how it sounds and what it can do at that price point, its not even close, said LiveSpace president Josh Maichele. Locations vary in size from 800 seats up to 3,000, with performers ranging from local favorites to national touring acts. Each location has a house engineer on staff, which is important when working with visiting engineers who arent familiar with the console, said Maichele. Weve developed a workflow for them that makes things pretty user-friendly, with all the routing they should need, plus clearly labeled channel names and a color coded system so that any engineer can easily understand what hes running and quickly adjust things like gain and EQ. The Midas PRO2 proved to be an ideal fit. Trying to ensure great sound quality while avoiding technical issues across a national chain is a challenge, concluded Maichele. Our whole approach to A/V systems is to simplify life for everyone who engages with our work, and the PRO2 definitely fits that profile.

Satronen Sound is using JoeCo BlackBox Recorders for the GOTR tour.

Capturing Mumford & Sons on the Road

PORTLAND, Maine Satronen Sound, a mobile recording company based here, took JoeCo BlackBox Recorders on the road to capture a series of U.S. shows on the Gentlemen of the Road tour, headlined by Mumford & Sons. BBR1B 24-track balanced analog systems were linked to provide independent 48-channel recording systems for two festival stages to be re-mixed later for a digital download audio compilation. In my two years of experience using them for live concert recording, the JoeCo

units have been very consistent for me, said Satronen owner/chief engineer Pete Nenortas. What originally attracted me was the ability to multi-track without being tied to a computer. In a festival recording scenario like the GOTR shows, it was imperative to have a system that could record for long periods of time at high track counts with superior reliability. Choosing to go with the JoeCo recorders made me comfortable in being able to guarantee that I could capture all the performances without missing a beat!

M&L Upgrades Middlebrook Pike UMC

temporary worship director at Middlebrook Pike United Methodist Church here, contacted Knoxvilles M&L Sound for an upgrade. M&L turned to ISP Technologies High Defnition Line (HDL) 2208 to accomplish the task, specifcally 18 HDL 2208s, which are known for a large sound from a small package that includes two 8-inch woofers and one 1.4-inch neo compression driver, all powered by an 850W RMS internal amplifer. The church also

KNOXVILLE, TN Justin Haynes, the con-

appreciated that all of ISPs speakers are available in custom colors, opting for white. We upgraded the acoustics of the room and M&L installed a sweet DiGiCo console for us, so we needed a speaker system that would complement these upgrades and handle our wide variety of music, said Haynes. Buck [Waller, ISPs CEO] came down to see our space and brought a demo rig. Not only are the speakers awesome, but the people at ISP and M&L sound are a joy to work with.

LiveSpace supplied Midas PRO2 consoles.




Vaudeville-Style Theater in Seattle Steps Up

Triple Door a 300-seat vaudeville style theatre has been making good use of a sound system that includes a Yamaha PM1D digital console and a medium-sized JBL VerTec line array. With its classic raked style interior and a plush, half-circle seating arrangement, the venue was completely renovated in the fall of 2002 with a simple goal: to create an intimate, comfortable space that connected performers to their audience.

SEATTLE Originally built in 1926, the

The Triple Doors mic arsenal includes this Sennheiser e906.

The Triple Doors upstairs Wild Ginger kitchen has been voted Seattles most popular restaurant for the last 11 years by the Zagat Guide. The venue was opened by a pair of entrepreneurs with a passion for food and music who wanted to open a first-class music venue, said Craig Montgomery, sound engineer at the Triple Door. At the heart of Triple Doors sound system is a large selection of Sennheiser evolution series mics fed into a 96-channel Yamaha PM1D 96-channel digital console. The main FOH rig has eight JBL VerTec 4888 full-range line array boxes and Crown CTs amps with four JBL CS4464 dual18 subwoofers. Additional JBL speakers comprise the front fill, front lip, proscenium wall and delayed room fills. Montgomery said the choice of Sennheiser mics helped distinguish the Triple Door sound. A Seattle native who previously mixed FOH for Nirvana and Weezer among other top bands, Montgomery joined The Triple Door in 2005. He was instantly drawn to the venues mic closet, which featured Sennheiser e835 vocal mics and e600 series drum mics.

I really grew to like them and noticed that they sounded much cleaner than other mics, he recalled. I was getting famous jazz singers asking me, Hey, what is this mic? and now that weve upgraded to the e900 series, its even better. Currently, Montgomery has enough Sennheiser mics to cover three bands. His kit consists of 12 e835 vocal mics, six e935 vocal mics, five e614 condenser mics, an e965 vocal mic, an e901 boundary mic, e902 and e602 kick mics, e604 and e904 tom mics, e905 and e906 instrument mics and two e914 condensers, and three channels of Sennheiser evolution wireless. Montgomery also uses e900 series across all his drums: I use the e902 on the kick, the e904s on toms, the e905 on snare and the e914s as overheads. I really like the form factor and physical design of all Sennheiser instrument mics, especially the way the tom mics clip on. In addition, he uses e906s on guitar cabinets. You really get a direct sound from the amp almost as if you are plugged right in, Montgomery states. The venue looks to fill the room seven nights per week, from jazz, to bluegrass, to rock. Weve got to be ready for anything, no matter what the genre of music, explains Montgomery. Some acts at the venue include Susanna Hoffs of the Bangles, Robyn Hitchcock, and Berlin featuring Terri Nunn and a recent a benefit for a local childrens hospital, which featured members of Pearl Jam.

Judy Bayley Theater at UNLV Installs All-Yamaha ES System

LAS VEGAS Home to many of the

University of Nevada Las Vegas performing arts groups, the 550-seat Judy Bayley Theater opened in 1972 and features a raked auditorium, a fully-rigged, proscenium stage, and a thrust-apron that can be used as an orchestra pit. A new audio system was recently recommended by audio expert/faculty adjunct Mary McFadden, designed and installed by PRG, and includes a Yamaha M7CL-48ES digital audio console, IS-series speakers, DME24 (Digital Mixing Engine) and XP amps. Since there is no full-time faculty that teaches sound, my feeling was, the new system needed to be easy to operate and have a digital signal path to familiarize students with digital audio networking and concepts, said McFadden. The Yamaha DME is a key part of the system, McFadden adds, it is very cost efective, and has all the DSP required for the system EQ, crossovers, delays, etc. It also has a delay matrix component and surround sound capability. The DME is a great teaching tool, and gets students to think about signal processing and design in the digital realm.



Scalable Hardware

GLOBALNEWS Franck Sono Deploys Huge Rig at Bercy Arena in Paris

PARIS The largest MLA Compact rig to date recently made its French debut at the Paris Bercy when a capacity crowd of 17,000 attended a six-hour marathon concert, La Nuit de lOutremer (The Overseas Night). Franck Sono, the frst French production company to acquire the new MLA Compact Multi-cellular Loudspeaker Array System 36, deployed the system. As Franck Sono wanted to achieve coverage over the vast space without setting up delay points, they rigged 24 MLA Compact elements per side as the main array, with 24 DSX subs designed in a broadside progressive array across the front. Eight W8LC and eight W8LM enclosures were used for outflls while 12 Martin Audios LE1500S foor monitors provided artists with their reference sound on stage. Said Martin Audios Nigel Meddemmen, who provided on-site support, It was the first time in the world that we have flown 24-box MLA Compact hangs and it sounded superbthe coverage was excellent. Everyone was really impressed that so much sound was coming from these tiny enclosures. Bruno Dabard, technical director of Audia (the pro audio division of French Martin Audio distributor, Algam added that the DSX broadside array demonstrated both clarity and high impact. And with a succession of rap, hip hop and reggae artists pounding relentlessly through the system in quick succession over the six-hour period, Franck Sono director Franck Lichtl, had no doubts about the wisdom of his investment.

The MLA Compact system was heard by 17,000

NAMM Booth #6983

See RunONE at

P. 800.966.0069 F. 847.795.8770



Entec Sound Supplies Skunk Anansie

Rental company Entec provided a d&b audiotechnik sound system for Skunk Anansies FOH engineer Paul Ramsay to support performances in the U.K. and Europe. The system, for 1,200- to 12,000-capacity venues, includes up to 16 J8, 16 V8 and eight J12 speakers along with 16 B2 and eight J-Infra subs and also four Q10s and four Q1s for infills and outfills, all powered by d&b D12 amps. The d&b audiotechnik system has been touring in 1,200- to 12,000-capacity venues. The J-Series line array was looked after on the road by Entecs James Skins vocals. An Eventide H3000 is applied to the backing vocals and SPXs are used to Kerridge and Richard Gibson. Ramsay specified a Midas XL4 console create all the more dramatic effects like disfor the tour. Although he was using a DiGi- tortions on vocals and drums. Monitors are mixed by the bands engiCo SD7 for festivals during the summer, he thinks there is something sonically magical neer Gerry Colclough using a Midas Pro 9. about the sound and warmth of the XL4 The side fills were two stacks of d&b C7, and that is just perfect for Skunk Anansie in a two C7 subs were provided for drummer Mark Richardson, with the band all on their headline touring situation. A relatively straightforward rock n roll own Shure PSM900 IEM system. They also mix with its own complexities, and Ramsay carry most of their own mics primarily likes the TC M6000 on drums and vocals Shure with a sprinkling of others including and a TC 2290 for long delays on lead singer Royer.


A pair of Soundcraft Vi1s (and a monitor engineer) joined the latest tour.

U.K. Girl Group Stooshe Gets Digital Support

LONDON Three-piece all-girl vocal group Stooshe is now using a pair of Harmans Soundcraft Vi1 digital audio consoles on the road. The U.K. bands popularity soared with 500,000 sales of its debut single, Black Heart, which led to a dedicated monitor engineer being brought in to join John Delf at FOH. With Stooshe from the offset, Delf has worked FOH for a number of major artists and is a fan of Soundcrafts Vi6 console. Id always liked the Vi6, and Id never used a Vi1 before, so I saw this tour as the perfect opportunity to get to grips with it, Delf said during a sound check at Londons Scala. Its perfect for this kind of tour the footprints small and transportation is so easy. We only
have a small trailer on the back of a van, but the two Vi1s fit in easily. Monitor engineer Nigel Thomas said opting for the Vi1 was a no-brainer. When I came in, it became clear that the Vi1 was absolutely the perfect solution. Ive always liked the way they sound, and Im particularly impressed by the user interface. When Im working on it, I dont even look down, as everything is just there in the right place. For this show, Delf spends most of his hands-on time mixing Stooshes vocals. I love the Lexicon effects in the Vi1: I use a plate reverb on the girls vocals along with a studio delay, and a drum reverb on the kit; all of them sound great.

Simply Awesome.
Lectrosonics gear is built like a Mac truck. We travel the world and in all the time weve been using this gear, Ive never, ever had any issues. Lectrosonics durability is, in my opinion, unsurpassed. - Lorenzo Banda, Monitor Engineer, Foreigner

Salo Loyo has been using QSCs K Series

Keyboardist Salo Loyo Finds Onstage Solution

LAS VEGAS Luis Miguels keyboardist Salo Loyo recently used QSCs K Series gear for shows in the Americas and Spain. I honestly have never used any keyboard amp, speaker, PA system, wedge or in-ear system that comes even close to the sound and response I get from my K Series, said Loyo. The sound is pure, clean and powerful. I dont have to worry about competing with anybody to be heard. And its not just volume; I can play at any level and the sound cuts through beautifully and clearly, without hurting anyones hearing. According to Loyo, his K Series setup has had a very positive efect on the way
that he plays. The K Series gives me the ability to play in a more relaxed way because I dont have to adapt my playing to the speaker, he added. I can actually play the way I always do and the speaker simply amplifes, delivers and translates exactly what Im playing, without any extra efort. Loyo, who just returned from a tour with Miguel in South America, also toured in the U.S., Mexico, Central America and Spain earlier this year. Hes also been a part of the pre-production/production team for Luis Miguels studio recordings for the past 10 years.

Pictured: Kelly Hansen, Foreigner lead vocalist with the HH transmitter.

Scan here and Raise Your Wireless Standards. or 1-800-821-1121 In Canada, call 877-753-2876

Made in the USA by a Bunch of Fanatics. 2013 JANUARY



Rocky the Musical Premieres in Hamburg

nitude, Rocky demands enormous HAMBURG, Germany Rocky, fexibility from its audio network. a musical production produced Approximately 400 individual logby Stage Entertainment, Sylvesic circuits have been programmed ter Stallone and the boxers Vladindividually to meet every conceivimir and Vitali Klitschko, made able performance situation. One its debut in mid-November with example is when musicians need support from Salzbrenner Stageto change instruments. They can tec Mediagroup technologies for trigger an individual mute with a sound reinforcement and monifootswitch without afecting the toring, including Aurus and Crescene automation. Other custom scendo consoles linked to a Nexus functions include MIDI triggers for network. efects, automatic failsafe switches An Aurus console with 40 fadfor players and a monitoring sysers and the full complement of DSP tem for the wireless microphones. for the FOH-mixing, a Crescendo The production includes Aurus and Crescendo consoles linked to a Nexus network. Virtually all logic circuits could be console for monitoring and an extensive NEXUS network with a STAR and four for opting for the Mediagroup mixing and achieved within Nexus, thus eliminating exBase Devices connect it all together at the routing technology, said Andreas Hammer- ternal devices. There is no comparable system Hamburg TUI Operettenhaus theatre where ich, head of the sound department at Stage on the market with this level of logic function integration, said Mediagroups Christian the show is staged. Sound quality, reliability Entertainment Germany. Even more than other shows of this mag- Fuchs. and fexibility were the three main reasons

Sting toured with DPA d:facto mics

Sting Finds Studio and Live Vocal Mic Solution

AMSTERDAM Sting used four of DPA Microphones handheld d:facto vocal microphones on his recent Back to Bass Tour throughout Europe and the Far East. Stings recording engineer, Donal Hodgson, who had great success using the d:facto with Sting in the studio, recommended the mic to Stings FOH engineer, Howard Page. Donal knew that I had been looking for a later technology microphone for Sting on our live shows, said Page, who is also senior director of engineering at Clair Brothers U.S. If Donal was happy with it in the exacting environment of a recording studio, then I knew I certainly would be as well. Page added, The d:factos defnition and clarity was a huge update on our Sting shows, and worked just as well for the in-ear monitors to which Sting listened. It is an absolutely unique microphone that has an amazing transient response and just the right amount of proximity without the normal problems of on/of tonal diferences.

Brit Row Supports $216-Million Stavanger Concert Hall Opens Alanis Morissette at O2 Arena Gig
LONDON Britannia Row recently provided a Turbosound Flashline system for Alanis Morissette at the O2 Arena. Including Turbosounds TFS-900H line array cabinets and 20000DP four-channel DSP-based amplifers, the setup was lauded by FOH engineer Maurizio Gennari and system engineer Nico Royan. Gennari credited the system as extremely clean, clear and crisp. Theres plenty of headroom and it has a natural sounding midrange. Its defnitely powerful and precise, I am really looking forward to using the system again. The gig marked the frst time Turbosounds Flashline system was used in a venue as huge as the O2 arena, but, as Royan noted, the Flashline system has more than enough headroom to cope with the O2, and EQ has been minimal. Because of Flashlines 1-inch compression drivers it ofers a really clean crisp high end and a very bright airy feel that you dont get with other line arrays as far as I am concerned its defnitely one of the best systems around. I am a big fan of Turbosound I use it for Leftfeld gigs and thats always a rocking show. STAVANGER, Norway The Stavanger Symphony Orchestra has spent the past 14 years wishing for a home that it could truly call its own. In September, that fnally became a reality with the opening of the new $216-million Stavanger Concert Hall complex. Designed by Oslo architects Ratio Arkitekter, the 13,800 square-meter venue has been designed to host all types of cultural events. Each of its two halls one for orchestral music, the other multi-purpose has its own independent soundproofng and load bearing systems. The soundproofng is so efcient that a rock concert can take place in one with a classical event in the other and no disturbance to the classical side. The halls share a foyer and restaurant, complemented by 180 other rooms, including rehearsal spaces, dressing rooms, meeting venues, cafes, bars, community facilities and an outdoor amphitheatre. Designed and supplied by DiGiCos Norwegian distributor Bright A/S, the project features two DiGiCo SD7s, two SD8-24s, an SD10 and six SD Racks (both fxed and portable). Both halls have a normal setup of 112 input lines and 64

Johan Berntsen looks after two DiGiCo SD7s, two SD8-24s, an SD10 and six SD Racks.

output lines, but these can easily be expanded when needed. A full fber optic network has connection points spread throughout the venues, making for a fexible setup and easy accommodation of diferent events. Support is also a key issue for Head of Sound Johan Berntsen. To have 24/7 support from both DiGiCo and Bright A/S has been crucial for us, he said. As well as overseeing the installation and helping to train the engineers, staf from Bright A/S also spent the entire ten days of the opening celebrations overseeing the audio production. This was very reassuring for everybody involved.

ACS, which makes soft-silicone custom in-ear monitors and hearing protection products, has opened a new ofce and lab within SIRs rehearsal facility in midtown Manhattan. The launch of the new U.S. base will provide existing clients and potential new customers with a more personal and speedy service when on tour in the states. ships in South Korea and Singapore. Fulcrums Hong Kong ofce head, Him Chan, played a key role in forging the new partnership. Harman reports a furry of new activity. Rex Reed has been promoted to director of engineering for Harman Signal Processing and will oversee en rex reed gineering for the BSS Audio, dbx, Lexicon and DigiTech brands. Marc Lee Shannon joins Harman Professionals USA regional Marc Lee Shannon sales ofce (RSO) as senior manager, business development. Shannon, a noted guitarist, will focus primarily on sales eforts Scott robbinS for AKG pro products and will also be involved in brand promotions for other Harman Pro companies. Scott Robbins has been promoted to executive vice president of sales, assuming worldwide responsibility for sales operations including management of Harmans RSO programs, target market sales programs and all technical service and support. Harman has also named Jim Ure as business development manager, installed sound, Eastern region to its U.S. RSO division. And Grammy award-winning producer, engineer, composer, arranger and anton puKShanSKy multi-instrumentalist, Anton Pukshansky is now territory sales manager for Southern California and Southern Nevada. In doMinic harter Europe, Harman also named Dominic Harter head of global sales operations for Soundcraft. Harter, who is flling in for Adrian Curtis, who was recently promoted to VP sales of the Harman Professional EMEA sales team, is rejoining Harman after spending the last 10 years with Turbosound, where he was director of R&D before becoming sales director. Music Group named Guangzhou Ruifeng Audio Technology Corporation Ltd. as its fulfllment partner for Behringer-branded products in China. Ruifeng is handling wholesale distribution, customer service and support through a network of authorized dealers. Separately, Music Group also named Galactic Music as its distributor for Behringer, Bugera and Eurocom products in Australia, with Galactic assuming responsibility for sales, distribution and service to a network of dealers across the country. Galactic is also relocating to larger premises in Melbourne this month. PESA named Dewaine McClellan international sales manager. He is responsible for sales of all PESA product dewaine MccLeLLan lines to territories outside the U.S. and Canada. McClellan is a 10-year veteran of the company. Shure launched a new systems support group help its end users deal with wireless issues ranging from frequency coordination, software configuration and interoperability between different brands of equipment. It is led by manager Gino Sigismondi and includes Doug Totel and Tim Vear. In other Shure news, Luis Guerra is now the product marketing manager for conferencing products to support the companys rollout of DIS-branded conferencing products.

SeapowerS Staff Allen & Heath has appointed Seapower as its new distribution partner in Taiwan. Seapower has close contacts with Allen & Heaths Chinese distributor, Sanecore, and ofers a wealth of product knowledge and experience with the brand. Separately, Allen & Heath named JB Music as its exclusive distributor in the Philippines. JB Music was chosen on the basis of its dealer network, service department and technical expertise. Ashly Audio has named Tau Audio Solutions as the exclusive Benelux distributor for Ashly products. For the past 16 years, Tau has a successful history of distributing products in Belgium, The Netherlands and Luxembourg. Cadac named David Kan CEO and Nick Fletcher director of research and development. Kan, who has a busi david Kan & nicK fLetcher ness management background in Malaysia and the U.K., joined Cadac afliate Soundking Europe in 2009. Fletcher has been a member of the Cadac engineering team for more than 20 years. d&b audiotechnik has appointed Gerhard Mayr as its new head of sales. Based at its German headquarters, Mayr takes Gerhard Mayr over from Peter Tongue who, after almost 14 years with the company, has retired. D a n l e y Sound Labs named Jonathan JP Parker as its national sales manager. Parker, who will be Jonathan Jp parKer responsible for Danleys loudspeakers, subwoofers, and supporting processors and amplifers, has more than 25 years of sales and marketing experience with companies including Bose, Crown, TOA and Martin Audio. Fulcrum Acoustic recently announced a partnership with China-based MUSE Audio, which will distribute its products in China, complementing existing distribution partner-

Let FOH readers know about the moving, shaking and relocating going on with your company. 2013 JANUARY


3 Zigma Microphones
The condenser microphone series from 3 Zigma Audio is designed specifcally for miking instruments such as horns, piano and stringed instruments guitars, harp, mandolin, violin, cello, etc. All models employ the CHI (Capsule/ Head-Amp Integration), with a choice of two head amps/bodies either the transformerless HA-TLII or the transformer-coupled HA-FX (with onboard pad and HPF switches). Available interchangeable capsules include four lollipop-style, large-diaphragm cardioid heads designed to emulate well-known vintage condensers and four small-diaphragm heads in cardioid, hypercardioid and difuse- or freefeld omni patterns. Mics are street priced from $497, with shockmount.

Drawmer D-Clock-R
The D-Clock-R provides external clocking of multiple synchronized digital audio devices and features auto-sensing, fail-safe dual-redundant word clock inputs to ensure continuous operation and dependability. The D-Clock-R automatically selects the input source from one of two inputs, a default and an auxiliary, depending on signal strength, and is capable of locking on to both word clock and AES-3id. The unit offers a total of 16 BNC clock output connectors: 12 on the rear panel plus an additional four located on the front panel to enable fast-access patching to other digital devices. MSRP is $1,195.
NAMM booth # 6945

AFMG EASE Focus V2.2

Now shipping is version 2.2 the EASE Focus version 2.2 sound system simulation tool. Among other enhancements, EASE Focus 2.2 supports conventional box-type loudspeakers in a mixed project together with line arrays. A maximum of 16 sound sources can be combined to a complex system, opening up a wide array of potential applied uses, including front-flls, sideflls, under-balcony systems, delay lines, etc., in all possible combinations with the main systems. This Windows-based software runs smoothly under Parallels or in Bootcamp.

Gator Cases Stretchy Covers

Gator Cases new line of stretchy speaker and speaker stand covers provide a clean and professional presentation. These stretchy covers keep gear protected from dust and dirt, while concealing scratches and dings. Each Stretchy Cover is made of black or white machine-washable, acoustically translucent material. Covers are available for loudspeakers with two models to ft most popular 10- to 12- or 15-inch speaker cabinets. Two models of speaker stand covers are available to cover one or two sides of most tripod-style stands.

NAMM booth #


Avid Remote I/O for VENUE Mix Rack

VENUE Mix Rack owners can now add I/O fexibility to their systems through Avids Stage 48 Ethernet AVB remote box via the Avid Ethernet Snake Card option. These new integration capabilities will give current VENUE Mix Rack system customers the option to signifcantly reduce cable clutter and expense and distribute their system I/O more efectively throughout the performance venue. Stage 48 features fully redundant, auto-switching Ethernet AVB connectivity, delivering a highly reliable, all-digital connection through dual-standard 350 MHz Cat-5e cables at distances up to 100 meters away

Holophone Live Sound Mics

Known for its multi-channel surround mic technology, Holophone announces a line of single-channel live performance mics. The new Super C handheld supercardioid condenser combines ruggedness, low handling noise and ergonomic comfort with the same proprietary capsule technology employed in Holophones acclaimed surround mics. Additionally, each microphones casing, windscreen, and grille can be instantly changed to any of a wide range of custom colors, providing unprecedented on-stage/ on-camera visual versatility, and a whole new level of hygienic appeal. MSRP is $499.
NAMM booth # 6400
NAMM booth # 5398

Behringer S16 Digital Snake

Behringer is now shipping its S16 digital snake. This integral component of the X32 digital mixer provides a scalable solution for remote mic inputs connected via Cat-5e cable, replacing copper snake cables. The S16 has 16 Midas-designed digitally programmable, remotely controllable mic preamps. Additionally, S16 offers eight analog XLR line and 16 ADAT digital outputs that can be used in splitter mode and/or stand-alone multi-core applications. Dual MIDI ports provide bi-directional control of devices between the stage and FOH, while dual AES50 network ports allow up to three S16s to be cascaded-without the need for an external router or hub. Price is $899/street.

Invisible Waves RF-intermod Pro

RF-intermodPRO from Kaltman Creations Invisible Waves line is a PC-based product that refnes and simplifes the process of identifying intermodulation distortion (IMD) frequencies in a given RF spectrum. It is available as a standalone PC-based software or as a plug-in option for the Invisible Waves RF Command Center. And based on zip code entry, the it can automatically identify unusable RF spectrum spaced around local DTV channels and other local interference. It also ofers One Click group calculations, Click/Drag/ Place spectral graphical representation, custom TX inventory profles, DTV blocks and stable reliability.
NAMM booth # 5740



KV2 Slim Line (SL Series) Speakers

Less than 12 inches deep, SL Series speakers dramatically reduce the amount of foor space required for high-SPL full-range systems. The SL412 and SL2.15 can integrate externally through simple wall mounting, suspension, ground stacking, or internally into walls and surfaces. The SL412 has four 12-inch woofers and a 110 horn assembly with a single 8-inch midrange and a large format 3-inch compression driver. The SL2.15 double-15 sub has the same slimline design that virtually disappears against a wall.

RPM Dynamics RPM-TB48 I/O

The frst stand-alone, turnkey 48-channel AES50 I/O solution for the Midas community, the RPM-TB48 I/O lets Midas digital console users connect the mixers digital I/O directly to any Thunderbolt-equipped computer for recording, playback, virtual soundchecks or plug-in integration. The unit can also interface up to 16 channels of AES/EBU I/O via additional D-sub cabling and operates with on most any applications or DAWs that utilize standard Mac core audio, making it a simple plug-and-play device after initial computer setup has been done. Price is $2,599.

PreSonus StudioLive 32.4.2AI Digital Mixer

Unveiling at NAMM is StudioLive 32.4.2AI. Beyond its 32 channels with XMAX mic preamps, the new mixers Active Integration dual-core computing engine adds 64 times the processing power and 10,000 times more RAM than the previous StudioLive 24.4.2. Also new are four internal efects buses, six mute groups and six user-assignable Quick Scene Recall buttons (sort of a speed dial for mixer scenes) and an Alt EQ/Dyn button lets users create two sets of EQ/dynamics settings for a channel and make quick A/B comparisons. A USB 2.0 port can host the included USB Wi-Fi LAN adapter. Connect a wireless router and control the mixer wirelessly from a laptop, iPad or iPhone. A card slot accepts the default dual-FireWire S800 and S/PDIF stereo out card or optional Thunderbolt/ AVB-Ethernet/dual-FireWire S800 I/O cards. Slated shipping is April, 2013; street is $3,999.

Studiomaster Ships XPX Series

The XPX Series are 2-way trapeziodal cabinets available in both self-powered and passive variants. Two models feature either lightweight 12- or 15-inch neodymium woofers and 1.75inch compression. The self-powered variants feature Class-D bi-amplifcation with switchmode power supply, delivering 500 watts RMS LF and 100 watts RMS HF power in both the XPX12A and XPX15A. Both models feature pole mounting fxings and M10 hanging points. Also in the series line-up are the XPX15SA and XPX18SA active subs, featuring 15- and 18-inch drivers, respectively, and heavy-duty Class-H amplifcation.
NAMM booth # 6400
NAMM booth # 6762

QSC AcousticPerformance Loudspeakers

QSCs new AcousticPerformance line of twoway, full-range loudspeakers are designed for installations requiring high SPLs and stylish enclosures. All feature high power-capacity compression drivers and 3-inch voice coil, high-output woofers to deliver full bandwidth reproduction. AcousticPerformance models can be used in passive or biamp mode and QSC Intrinsic Correction techniques are available for Q-Sys and future QSC products. Standard are M10 mounting points for deployment via eye-bolts as well as mount points for an optional yoke bracket. The AP-5122m multi-purpose enclosure can double as a foor monitor and has a pole cup for stand mounting. The enclosure and terminal input cup on the AP-5122m are designed to facilitate cable runs for a clean stage appearance on stage.

VUE Audiotechnik al-4 Subcompact Line Array

At NAMM, VUE Audiotechnik unveils the frst product in its new al-Class of sound reinforcement loudspeakers: the al-4 subcompact line array and companion a-4amp processor/amplifer. Each al-4 system measures 18.9 x 5.5 x 10.3 inches (WxHxD) and weighs just 21.4 pounds. The al-4 has two 4-inch Kevlar cone neodymium woofers fanking a new, 1-inch-exit neodymium compression driver with a Truextent beryllium diaphragm, mounted on a precision 90 horizontal waveguide. Arrays can be confgured with up to 16 al-4 systems per fy bar. The a-4amp processor/amplifer will power eight individual al-4s. The al-4 is compatible with a variety of VUE subwoofers for wide bandwidth systems.
NAMM booth # 6226
NAMM booth #


RCF 8000 Series Ampliers

Designed for 70/100V installations, the 8000 series amplifers from RCF feature Class-D operation with thermostat-controlled forced air cooling and compact, single-rackspace enclosures. The UP 8501 is a single-channel , 500 Watt RMS design; the UP 8502 has two 250W channels; and the UP 8504 has four 125W channels. Front panel LEDs indicate amplifer status, while a rear panel DIP switch allows disabling the front volume controls. Weight is approximately 12 pounds.

Yamaha Ri8-D and Ro8-D I/O Racks

Ofering the same sound quality found in the CL Series consoles and Rio3224-D/Rio1608-D stage boxes, are the new 8-channel, 1U Ri8-D and Ro8-D input/output racks. In addition to working with CL Series gear, using Dante-MY16-AUD card(s) with the new Rio units and a Yamaha PM5D will create a 96kHz system. The new Rio units can also be used with M7CL and LS9 Digital Consoles, DME64N Digital Mix Engines, and other compatible Yamaha products such as Nexo NXAmps using an NXDT104 card, further enhancing the Dante networking experience. The Ri8-D head amps can even be controlled from the interface of the M7CL, LS9 or other compatible console. Targeted Ri8-D MSRP is $1,900 and $1,700 for the Ro8-D, with Spring 2013 availability.
NAMM booth # 6780 2013 JANUARY 23


TOP 10 TOURS OF 2012

As ranked by Billboard





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FOH Engineer: Tim Colvard System Tech: Mark Brnich Monitor Engineers: Matt Napier, Sean Spuehler Programmer: Dan Roe RF Techs: Wilson Tennermann, Jason Kirksnick, Ron Sharpless Madonnas Sound Tech: Demetrius Moore

Bruce Springsteen and the E Street Band
FOH Engineer: John Cooper Monitor Engineers: Troy Milner, Monty Carlo System Engineer: Klaus Bolender System Engineer/L-Acoustics K1: Etienne Lapr Crew Chief/System Engineer: John Boo Bruey Techs: Ray Tittle, Rob Zuchowski

Roger Waters
FOH Engineer: Trip Khalaf Monitor Engineer: Ian Newton System Engineer: Bob Weibel Monitor Assistant Engineer: Kevin Kapler Techs: Henry Fury, James Higgins, Matt Scoggins

FOH Consoles: DiGiCo SD7s (2) Speakers: d&b audiotechnik J8 line arrays (28 per side) and J-Subs (8 per side) for mains, J8 (12) and J12 (4) for side arrays, V12 (12) for rear hang, V8 (6) for center hang, Q7 (12) for front ll, V8 (5) and V-Subs (2) for side lls plus B-2 subwoofers (18, groundstacked). Amps: d&b w/R1 Remote Software for system control MON Consoles: DiGiCo SD7 with sidecar Speakers: L-Acoustics 108P, 115P sub; d&b Qsubs, sidells PMs: Ultimate Ears UE-11 Processing: Logic 9 Mics: Sennheiser 5000 series with ME 505 capsules, 3732 and 2000 receivers; Shure SM91, SM52, SM57, SM98; AKG C-414; Sennheiser MD-409. Radial Engineering direct boxes.

FOH Consoles: 1 Avid VENUE Prole w/2 stage racks; 1 APB-DynaSonics MixSwitch Speakers: 32 L-Acoustics K1 (32), K1-SB (24), mains; KARA (12), underhang; K1 (28), side hangs; KUDO (48), rear-ll; dV-DOSC (8), SB-28 (8), front lls; SB-28 (8), ground-stacked; V-DOSC (16), delays; KARA (12), side array underhang; dV-DOSC (6), center cluster. Amps: LA-RAK (26) MON Consoles: DiGiCo SD7s (2), SD Racks (4) Speakers: Audio Analysts SLP wedges (32: 20x12 , 12x15), subs (2x18); JBL VerTec VT4888 (8), monitor side lls; Buttkicker Shakers for platform w/ amps (4) Amps: Crown I-Tech 12000HD, 5000HD, 12000HD, 12000HD; Mics: Wireless: Shure UR4D-J5 (8), UR2 handheld w/ SM58 capsules (10), UR1 beltpack transmitter J5s with B98 clip-on mics (12) PMs: Sennheiser SR 2050 (12), EK 2000 (36), AC 3200 (3)

FOH Consoles: Midas XL4 (2), Yamaha PM5D Speakers: Clair i-5, i-5b, FF-2, BT-218, R-4 Series III Amps: Crown MON Console: DiGiCo SD7 Speakers: Clair 12amSeries II, Clair ML-18 PMs: Sennheiser EK 2000, Shure PSM600 hard-wired Amps: Clair StakRak Mics: Shure UR Series wireless

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Michael Jackson The Immortal World Tour by Cirque du Soleil
FOH Engineer: Martin Par Monitor Engineer: Renatto Petruzziello System Engineer: Sylvain Lemay Wireless/Comm Tech: Marc-Olivier Magnan PA Techs: Hilario Gonzalez, Marc Depratto

FOH Engineer: Dan Green Monitor Engineer: Chris Wood Monitor Technician: Nick Mystic Davis Systems Engineer/Crew Chief: Tony Smith Systems Tech: Sid Rogerson Pro Tools Programmer: Matt Miller RF Engineer: Ali Viles Digital Specialist: Alex Hadjigeorgiou System Techs: Conor Dunne, Josh De Jong, Matt Latham, Chris Johnson, Richard Cook, Bill Laing, Jack Murphy, Kyle Walsh, Victor Arko, Marty Tarle, Kurt Wolf, John Switzer


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Lady Gaga
FOH Engineer: Chris Rabold Monitor Engineer: Ramon Morales Systems Engineer: Mike Hackman Crew Chief: Danny Klocker RF Tech: Bill Flugan System Techs: James Lamarca, Matt Strakis, Wayne Bacon, Lee Furnell, Chris Bellamy

FOH Consoles: DiGiCo SD7 w/ 3 SD-Racks; Yamaha 01V Speakers: Meyer Sound LEO-M (40), MICA (24), 700-HP (16); UPJ-1P (2), UPA-1P (4), UPA-2P (2), MSL-4s (for front lls/side lls) MON Consoles: DiGiCo SD7 w/ 4 SD-Racks Speakers/PMs: Meyer Sound MSL-4 (4), MINA (2); Yorkville NX720S (5); Sennheiser SR-2050-XP (9), EK-2000 (18), AC-3200-II (3), A-5000 CP (3); Radial SW8 (4); JH Audio J-16; Ultimate Ears UE-18; AKG IVM4500 Mics: Shure SM91 (2), BETA 98A (20), BETA 98C, SM57 (6), KSM32; Sennheiser e-902 (2), HSP-4 (2), MKH40 (2), MKH60 (2), e-825S (14); AKG 414XLS (4), C451, C519ML; Neumann km184 (2); DPA 4099-T (3); 4062 (4); Radial J48 (2), Pro48 (9), ProDI (8), ProRMP (3), X-AMP (2); Sennheiser EM-3732-II (16), SKM 5200-II/5235 (3), SK-5212-II (15), SK2000-XP (5), SKM300-G3 (2), ASA-3000 (2), AD3700 (4); Rosendahl Nanosyncs; Audio-Technica

FOH Console: DiGiCo SD7 Speakers: d&b audiotechnik J8 (48), J12 (8), J-SUB (12), B2-SUB (12), Q7 (8) Amps: d&b audiotechnik D12 Processing: Waves, Empirical Labs MON Console: DiGiCo SD7 Speakers: d&b audiotechnik M4, V8 Mics/PMs: Sennheiser, Shure, Heil; Sennheiser RF & PMs

FOH Console: DiGiCo SD7 Speakers: d&b audiotechnik J8 (96), J12 (24), V8 (24), Q7 (12), Q10 (4), J-SUBs (36), J-Infra Subs (12) Delays: d&b J8 (32), V8 (32), D12 (32), V12 (8) Amps: d&b D12 (144) MON Console: Avid VENUE Prole Speakers: d&b M2 wedges (4), J-SUB (1) PMs/Wireless: Sennheiser SR2000 wireless system (30ch) with 40 IEM packs; Shure UR wireless Mics: Sennheiser e901; Shure Beta 52, SM56, SM57, SM58; Earthworks DP25, DP30, SR40; Radial J48; Royer R-122; Avalon DI

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Eighth Day Sound


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TOP 10 TOURS OF 2012

As ranked by Billboard


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Kenny Chesney & Tim McGraw
FOH Engineer: Bryan Vasquez Monitor Engineer: Phill Side Phill Robinson Band Engineer: Bryan Opie Baxley Crew Chief/System Engineer: John Mills System Techs: Jameson Jamo Beck, Preston Gray, Phill Spina, Phil Bledsoe, Justin Meeks, Taylor Nyquist

Van Halen
FOH Engineer: Brad Madix Monitor Engineer: Jerry Harvey Audio Crew Chief: Andy Baldwin Monitor Technician: Ken McDowell Audio Techs: Corey Harris, Lewis Lowder



Jay-Z & Kanye West


FOH Engineer: Wayne Trevisani Monitor Engineer: Scott Tatter System Engineer/Crew Chief: Simon Bauer Monitor System Engineers: Xavier Gendron, Falko Knuppel Technicians: Pascal Harlaut, Tino Kreischatus, Flavio Scharer

FOH Console: Midas PRO9 (FOH) Multi-Track Recorder:K-T DN9696 Speakers: Electro-Voice X-Line line array modules (72); X-Line subwoofers (52), EV X-Line line array modules for delay towers (32), EV XLD line array modules (16) for front lls Amps: Electro-Voice P3000RL amps with RCM24 DSP modules (156) MON Console: 2x Midas PRO9 (Chesney / Band) Wedges: (Band): Meyer MJF212 Wedges: (Chesney): Nexo 45N12 Ears: PSM1000, Sennheiser 2000 Mics: Lectrosonics Venue UHF wireless receiver, Lectrosonics HM UHF plug-on transmitters (4), Audix TM-1 measurement microphones (5) Wireless Mics: Shure Axient w/ KSM9HS

FOH Console: Avid Prole 96 Speakers: Clair i-5, i-5B, BT-218 subs Amps: Lab.gruppen PLM 20000Q

FOH Console: Avid Venue D-Show with side car (48 inputs) Speakers: Clair I-5/5b, Clair I-3, Clair I-DL, Clair BT218; Clair I-3, Clair BT 218 (sidells) Amps: Lab.gruppen PLM 20000Q MON Console: Avid Venue Prole Amps: Lab.gruppen PLM 20000Q Processing: Pro Pack 3.0, Avid DSI Card PM Systems: Sennheiser G3 Mics: Shure (hard-wired), Radial DIs; Shure UHF-R (wireless)

MON Console: Midas Heritage 3000 Speakers: Clair CM-22 Prism Blue, i-DL (side lls), BT-118 (drum sub bass), BT-218 (side ll subs) PM Systems: Sennheiser 2000 IEM, Shure PSM 600 Mics: Wired: AKG 414; Audio-Technica AT4054, AE5400, AT4050, AE 6100; Countryman DIs; Sennheiser MD 421, e 901; Shure SM57, Beta 181, Beta 27. Wireless: Audio-Technica; Shure UR handhelds and bodypacks

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Morris Light & Sound

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Andre Rieu
Speakers: Meyer Sound MILO (32), MICA (24), 700HP (8), MElodie (6), UPA (4), MSL4 (4) Processing: Meyer Sound Galileo (3), SIM3 (1) MON Console: Yamaha M7CL32 Speakers: Meyer Sound UM1 (8), UPM1 (8), UPJ (4) Mics: Wired: Neumann, DPA, Sennheiser; Wireless (34 ch): Shure UHF-R Q5-R9 (Europe), H4-J5-L3 (U.S.)

FOH Engineer: Wim van der Molen System Engineer: Fred Cantin Wireless Tech: Eric Marchand System Techs: Alex Dugas, Tom Worley, Marc Depratto, Freddy Den Dulk, Jeremy Walls
Andre Rieu audio crew

FOH Console: Yamaha PM1D

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By PhilGraham

Acoustics: The Sound System/Room Connection

Hz wave is more than 50 feet long. This huge range of wavelengths is the source of most issues in professional audio, because its hard to provide the same degree of control over both very short and very long wavelengths. Sound system-to-room interaction is frequency-dependent. Most professional sound systems even small speakers on sticks provide good directional control at short wavelengths (i.e., high frequencies). A useful rule of thumb is that directional control is achieved for frequencies above 3 kiloHertz (3,000 Hz or 3 kHz). Above 3 kHz, the sound systems physical aiming and nominal coverage pattern is typically representative of where the sound energy will end up. Room surfaces-to-sound interaction is frequency-dependent. It would be convenient if room surfaces all absorbed sound in a consistent manner, but this isnt the case. Whether brick or drywall, painted or unpainted, wood floors or carpet, the nature of each of these surfaces will change how the sound arriving from the speakers is returned back to the room.

ne of my best-received articles for FRONT of HOUSE detailed how to set up a cardioid subwoofer array (see FOH, Dec. 2011, page 28). In keeping with the nuts and bolts theme of that previous article, this month Id like to present a straightforward set of guidelines to help the system tech or FOH engineer successfully tackle the challenge of providing a neutral sonic canvas for live sound events. Since one can obtain a graduate degree in architectural acoustics, this article should in no way be considered a complete take on the topic. The goal instead is to produce an article that could be laminated for the workbox, or handed out to the crew for discussion in the wintery of-season. Everything here is based on solid physical principles and backed up by practical system tech experience. Interested readers can dig into the references at the end of the article to further explore the broader topics in room acoustics. Well cover a few acoustics principles, and then move into how those principles influence the connection between sound system and room. Then well provide some guidelines for coverage. Next well talk about the processing tools we have to address the sound in space, and provide some practical guidelines for getting through combat audio in a smooth and speedy way.

Basic Considerations
The datasheet response curve is not what the audience hears! Most manufacturers place a frequency response curve on their datasheet as a measure of the loudspeakers performance. In reality, that curve provides precious little useful information for the majority of the audience. Datasheet curves are typically taken directly on the main axis of the loudspeaker, and the frequency response they show represents the speakers response in the absence of any room influences. Back in the real world, your audience is standing inside a box of questionable acoustic pedigree, and only a small fraction of them are camped out near the speakers main response axis. Even outdoors, most of the audience are off-axis of the speaker system, and the air tempera-

Quick Acoustics Principles Acoustics are infuenced by room geometry, dimensions and materials. While this may appear self-evident, it remains important to internalize the root cause of room sound. Audio waves move in space and time (i.e., propagate) from the sound system to the various surfaces in the room, where those surfaces perform some mixture of reflecting, diffracting, and absorbing sound. The interaction of these effects determine the overall character of the room and sound system.
Acoustics are infuenced by the physical properties of air. Sound requires a medium to propagate in, a way to get from the sound system to the architecture. For us that is a gas with fuid-like properties known as air, and composed mostly of nitrogen and oxygen. Temperature and humidity of air can have profound efects on how sound travels to the audience and about the room. Sound covers a huge range of wavelengths. Wavelength is a measure of how far a periodic signal, like sound, travels in space before the wave repeats. In the range of human hearing, the shortest wavelengths are on the order of one inch, and the longest 60 feet! As a rough approximation, a 1 kHz tone has a wavelength of approximately one foot; a 20

In the real world, your audience is standing inside a box of questionable acoustic pedigree, and only a small fraction of them are camped out near the speakers main response axis.
ture, humidity and currents are substantially influencing the sound. Speakers interact most strongly with the room in a certain range of frequencies. As loudspeakers cant shape the directional response of all frequencies with the same degree of control, lower frequencies (i.e., longer wavelengths) will interact more strongly with the room. This is the first half of the speaker and room interaction. The second half of this equation is the absorbing behavior of the room features and surfaces. At high frequencies, most surfaces are strongly absorbing, and at very low frequencies, most are weakly absorbing. It is the absorbing character in the midrange (e.g., 150 Hz to 2 kHz) that most colors the sound in the room. Sometimes the most dominant effect on the room absorption is the audience! Multiple speakers used together radiate sound diferently than individual speakers! When the datasheet shows the coverage pattern of a single speaker, and one is using multiple speakers for coverage and/or output, the aggregate output of multiple speakers is not simply a wider version of the single speaker. At some frequencies, the coverage will be wider, but at other frequencies, it will be narrower.

Room modes rarely behave like simple textbook examples. Physics dictates that pressing down on different guitar frets produces various tones, and likewise, the geometry of any physical room setup will define modes that occur in any room. Room modes are a deep topic, and weve generally done disservice to them by portraying simple examples that dont match experience in the field. One practical difference between textbooks and physical rooms is that modes are rarely as deep in real rooms. This is because the boundaries (i.e., walls) of real rooms are not as rigid as those in a textbook model. Human hearing picks up both direct and refected sounds. From birth, our ears are forced to make sense of a world full of both direct and reflected sounds. Our brains fuse a mixture of the direct sound from the speakers and the reflected sounds from the room. This core human behavior is why we need to consider effects of the room. Generally, our ears consider more direct sound at higher frequencies, and more reflected sound in the lower registers.

Rules of Coverage
Aim the speakers at the audience! The single best way to improve problems with room acoustics is to insure as much of the sound hits the audience, and is therefore absorbed by them, as possible. Use geometry to improve even coverage. For typical point-source loudspeaker setups, a straightforward way to insure the audience has even coverage is to minimize the differences in distance between the loudspeaker and each audience member. Usually its not practical to make these values the same for all audience members, but smaller differences usually result in more even coverage. In most spaces, this dictates a high placement of the loudspeaker, so that trigonometry allows similar distances to the first row and the last row. Use the minimum amount of loudspeakers possible. Every additional loudspeaker is another source to dump extra acoustic energy into the room, and those additional



Suggested Reading
sound reproducTion: loudspeakers and rooMs so
Au Author: Floyd Toole. A recent, comprehensive synthesis of how to produce sound, ob observe how it interacts in space and consider our ears fnal interpretation thereof. It is somewhat targeted at recording studios and theaters.

The MasTer handbook of acousTics

Author: Everest and Pohlman. An accessible introduction to room acoustics.

acousTics a EQ cannot solve a speakers changing directional coverage. Loudspeakers provide good directional control at high frequencies and poor directional control at low frequencies. Equalization controls the total amount of energy at a particular frequency, but cannot modify the loudspeakers coverage pattern. EQ can help balance a rooms combined direct/refected sound. When the combined output of the room and loudspeaker produces too much energy in a specific range of frequencies, equalization can be effectively used to bring the overall sound level of that range back into balance. EQ at high frequencies can often ignore the room. At high frequencies (e.g., above 3 kHz) one can shape the equalization almost without considering the room. This is a combination of three efects. First, most surfaces are absorptive at higher frequencies. Second, the directional coverage of the loudspeakers is well controlled. Third, human hearing primarily considers the direct response, ignoring most refections, at higher frequencies. loudspeakers can interact with each other and the room in complicated ways. Since even very large loudspeakers have limited directional control below 300 Hz, using too many acoustic sources is a recipe for murky, muddy low-mid character. Midrange EQ decisions should account for both the room and the speakers. Because so much of the sound from
A Author: Leo Beranek. A c common reference textbook on a architectural acoustics, though it is now somewhat dated.

the loudspeaker spills around the sides and back of the speaker, the aggregate response of speaker and room must be considered. The aggregate, pleasing response curve for the majority of the audience is not likely to be representative of a flat line for the loudspeakers axial response with no room present. Measurement systems used to make EQ decisions need control over the amount of refected sound included in the measurement. Practically speaking, this means that the classic real time analyzer (RTA) is not very useful for making calculated equalization decisions. However, any of the transfer function-based measurement platforms (e.g. SMAART, SysTune, SIM 3, ARTA, etc.) are useful for these decisions. This author strongly encourages training to learn how to take valid measurements for equalization.

At the end of the day, equalization is the most common approach to tackle problems that would generally be best solved in another manner. Despite this reality, equalization can be a powerful tool to balance the overall response of the sound system for the audience. Equalization through the midrange frequencies where the room and loudspeaker are in-

teracting together can improve coverage for much of the audience, and equalization at the highest frequencies will influence the overall tonal character of the speakers direct sound. As the direct sound is dominant at high frequencies, the equalization at high frequencies goes a long way towards ones impression of the loudspeaker system. This effect can be further magnified as the humidity changes. Wet air absorbs high frequencies much less than dry, so a room that sounded fine empty at sound check can grow very bright and unpleasant when full of hot, sweaty audience members. But in any case, a well-placed, well-designed system still remains the most important step in dealing with any acoustic space. Once those fundamentals are in place, a knowledge of some basic acoustical principles can go a long way towards creating a listening environment that provides smooth, even coverage for the entire audience. Phil Graham is the senior engineering consultant of PASSBAND, llc ( Email him at:

Then Processing
For the FOH mixer especially, the coverage of the loudspeaker system is often outside of ones control. This leaves the processing tools either already at FOH, or carried to the gig by the mixer. You can EQ the system, but unfortunately, there is no such thing as equalizing the room, although tonal shaping of the loudspeakers direct coverage can be surprisingly effective in influencing the overall perceived balance of the combined room + loudspeaker response. Here are some general principles on the application and limitations of equalization. EQ cannot solve spatially-dependent issues. If the loudspeaker either over- or under-covers the audience, equalization cannot mitigate how the loudspeakers are aimed.

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Rick Camp: On The Road with
By GeorgePetersen

ngineer Rick Camp is a man with plenty of frequent fyer miles. When your list of FOH mixing credits includes the likes of Madonna, Beyonc, Anita Baker, Natalie Cole, Destinys Child, Chris Brown and Burt Bacharach, youve been around the block a few times. We recently caught up with Rick in Australia during Jennifer Lopez Dance Again world tour. Camp, who had previously worked FOH with J-Lo, was brought in again to mix the European, Australian and Asian legs of the tour, which concluded with two dates in San Juan, Puerto Rico in late December, which will be followed by a hop back to Osaka, Japan for a private corporate gig in early February. Like many sound engineers, Camp had a musical background, having played trumpet for about 10 years back in the 1970s, and then attending the Berklee College of Music in the 1980s. But then I realized all the horn bands like Earth, Wind & Fire, Kool & the Gang and Chicago had kind of gone away. So I made a change and went into engineering, Camp recalls. Engineering was always something I did with the local bands that I played for, but it just came natural to me. I made the move from Cincinnati where Im from to L.A. At that time, I had a gig with a national recording group called The Whispers. From then on, I kept at it, and ended up mixing for Earth Wind & Fire around 94. I mixed them for about fve years. Then I went out with Madonna, Beyonc, Destinys Child and so on. Now Im back out on the road with J-Lo. The Team, The System Clair Brothers is the sound company on the Dance Again World Tour, with support from Sydney-based Jands Audio for the Australian/Asian legs. Camp was brought onboard last September with the European dates starting at the Crystal Hall Arena in Baku, Azerbaijan, and joined monitor mixer Vish Wadi, a frst-call veteran whos worked with top names like Shakira, Enrique Iglesias, Rihanna, Miley Cyrus, Babyface and Sting. The house system was all d&b audiotechnik. Ive been using a large d&b rig, with J8 and J12 line array cabinets and a couple subwoofers in fact, quite a few of them, says Camp, who became a d&b fan several years ago. Im using all the favors of subwoofers they make with a couple of the J-INFRA triple-21s, the double-18 B2s (which are my main subs) and Im fying 12 of the triple-18 J-SUBs. In terms of bass, this combination makes everything even and smooth there are no holes or gaps in the LF coverage as you walk around the arena, which can

J-Los handheld wireless mics of choice are two Sennheiser MMD 935 condenser capsule head (one black, one gold-plated) on SKM 2000 transmitter bodies with bling fnishes that are strictly custom.

Steve jenningS



FOH engineer Rick Camp

Dance Again World Tour: The Input List

1 Kick Inside: Lewitt 640 Rex 2 Kick Outside: Lewitt 640 Rex 3 Snare Top: Shure SM57 4 Snare Bottom: Shure KSM 137 5 Snare #2 Top: Shure SM57 6 Snare #2 Bottom: Shure KSM 137 7 Hi-Hat: Shure KSM 137 8 Tom 1: Lewitt DTP 340 9 Tom 2: Lewitt DTP 340 10 Tom 3: Lewitt DTP 340 11 Floor Tom 1: Lewitt DTP 340 12 Floor Tom 2: Lewitt DTP 340 13 Overhead Left: AKG C-414 14 Overhead Right: AKG C-414 15 Ride: Shure KSM 137 16 E. Drum Left: DI Box 17 E. Drum Right: DI Box 18 Conga: 1 Shure SM56 19 Conga: 2 Shure SM56 20 Conga: 3 Shure SM56 21 Bongos: Shure SM56 22 Timbale Left: Shure SM57 23 Timbale Right: Shure SM57 24 Percussion Toys Left: Shure KSM 137 25 Percussion Toys Right: Shure KSM 137 26 Roland SPD-S Left: DI Box 27 Roland SPD-S Right: DI Box 28 Bass: DI Box 29 Bass Synth: DI Box 30 Guitar Dirty: Shure KSM 32 31 Guitar Clean: Shure KSM 32 32 Acoustic Steel String: Avalon DI 33 Acoustic Nylon String: Avalon DI 34 Stage Right Keys Top Left: DI Box 35 Stage Right Keys Top Right: DI Box 36 Stage Right Keys Bottom Left: DI Box 37 Stage Right Keys Top Right: DI Box 38 Stage Left Keys Top Left: DI Box 39 Stage Left Keys Top Right: DI Box 40 Stage Left Keys Bottom Left: DI Box 41 Stage Left Keys Bottom Left: DI Box 42 BG Vox (Belle Johnson): Sennheiser 965/2000 43 BG Vox (Erin Stevenson): Sennheiser 965/2000 44 J-Lo Vox: Sennheiser 935/2000 45 J-Lo Vox (spare): Sennheiser 935/2000 46 J-Lo Headset: Crown CM 311 47 J-Lo Headset (spare): Crown CM 311 48 Unused/Spare 49 Percussion Left: XLR 50 Percussion Right: XLR 51 Music Left: XLR 52 Music Right: XLR 53 BG Vox Left: XLR 54 BG Vox Right: XLR 55 Vox Left: XLR 56 Vox Right: XLR 57 Click: XLR 58 J-Lo Click: XLR 59 FOH TB Mic (with switch) 60 MD TB Mic (with switch) 61 Monitor TB Mic (with switch) 62 Pro Tools TB Mic 63 Unused/Spare 64 Unused/Spare

Jennifer Lopez

happen if you dont have enough sub boxes. Coming in halfway through a world tour is hardly time to make big changes, but Camp did add his own tweaks, mostly in terms of drum mics. I like these new Lewitt Audio mics, a company from Austria. Most people had never heard of them but were amazed when they heard them the drummer was totally amazed. Im using the Lewitt DTP 340 on toms and the double-capsule Lewitt DTP 640 on kick. The overheads are AKG 414s, which [monitor engineer] Vish Wadi really likes using. Theres also a Shure KSM 137 doubling on ride cymbal, another on hi-hat and two KSM 137s are also used for bottom snare mics, with SM57s on top of both the snares. Camp is mixing on his longtime console of choice, an Avid VENUE Profle. I always owned

a studio while living in L.A., and I got into Pro Tools, when Digidesign/Avid came out with the Mix Plus system, where you could record 64 tracks, Camp recalls. So back around 95 I got heavily involved into the Pro Tools craze, and rode it all the way out to where it is now. But I was always doing the live thing as well, and one day I got, I mean, had to use the Digidesign console at a one-of. The sound company on the gig was demoing it, but I thought, theres no way this could work live. To my surprise, they really had it together; the sound quality was great, it didnt crash and, from then on, I was requesting that board. It got to the point where my wife and I actually bought a 96-channel VENUE board for rental purposes. I would of course use it whenever I could on my own gigs. On the Dance Again World Tour, Ive

been running about 56 input channels or around 62 if I include talkback mics and all that stuf which is a bit short these days, says Camp. And the bands not small, with two keyboard players, a percussionist and a drummer, bass player, guitar player and two background singers. The Money Channel Jennifer sings into custom Sennheiser MMD 935 cardioid condenser capsule heads (one black, one gold) on SKM 2000-Series wireless handheld bodies that are blingedout with gold plating. During certain parts of the show, she switches to a Crown CM 311 headset mic. From there, all of her vocal mic inputs go into Avalon VT-737sp mono tube channel strips, so I bypass the console mic

FOH Horace Ward

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Steve jenningS

Photos by steve jennings


preamps and EQs for her channels. For reverb, I use the Reverb One [stock Avid plug-in] from the desk, although in an arena you dont need much reverb. Camp has been using Sonnox plugins since 2000, frst in the studio, and now theyve become part of his virtual outboard rack at FOH. In the studio, I used the Reverb,

Dynamics, SuprEsser and the Oxford EQ. I always liked how accurate the EQ was, and fnally it kind of hit me to use it to tune the PA. That way, I could use it instead of the Dolby Lake EQ, which most sound companies use. Its just as accurate, and I could save it with my show fles for later recall. Thats what led to me using it live. On this current tour, I use

TRx3210 Line Array

it on the most important thing to EQ the main speaker system. Its so accurate for tuning a PA that I can totally rely on it. The Oxford EQ also is called in on J-Los vocal. The settings change every night, depending on the room and on her voice. I can even shift it around on the fy for each song using the Drag Handles option, depending on how shes on the mic and so on. In addition to the vocals, I use it on some of the drums and bass and anything thats critical to the show. Theres nothing else out there that is more accurate than this, Camp explains. Every show is multitracked to Pro Tools 10 HD. But beyond the archival function, Camp also employs the VENUE consoles Virtual Soundcheck function every day to tune the PA using a Sonnox EQ and Waves L3 limiters on all the outputs. Ill use an analyzer to see what going on, adds Camp, but I tune the PA by ear. Its all about making sure her vocal mic sounds good in that room. Beyond doing shows in a long list of plac-

es most people cant even pronounce, this tour presented a few other pitfalls, says Camp. One major challenge is a 30-foot thrust in front on the stage, with Jennifer singing into that headset mic 40-feet in front of the PA. It takes a whole lot of tooling to make sure the mic doesnt feed back and I can get it as loud as I need. That was my major challenge. After that, everything else was a piece of cake. On the Horizon After four months of international touring, Camp arrived home just in time to celebrate New Years. So what next? This is my last long major tour, states Camp. Im getting ready to launch Master Mix Live [], an audio engineering school, which is to open in March in Las Vegas. There wont be any recording or English classes Master Mix Live will focus on live sound and will only have eight students per fve-month course, so everyone gets plenty of hands-on time. That, and a chance to learn frst-hand from a live mix master.

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Non-Traditional Applications for Earset Microphones

Lindy poLLard

By OmerInan
ince the invention of the frst earset in the late 1990s by Carl Countryman, this new class of microphone has rapidly grown to be one of the most popular tools for miking presenters, singers and performers. Unlike a headset, which wraps around the head and grabs both ears, an earset fts over only one ear of the performer and positions the microphone element right next to the mouth. This results in a perfect marriage of comfort and unobtrusiveness for the performer and extreme isolation from ambient noise and feedback for the engineer. Most sound engineers know about earsets and a vast majority use them regularly, yet many are still unaware of some non-traditional applications where earsets can really shine. Lets examine some unusual techniques and out-of-the-box applications some of which dont even involve mounting the earset on the ear that will make earsets some of the most powerful tools in your kit.

please disconnect before walking away for breaks. (Choose an earset with a reinforced cable so that if she does accidentally walk away, the mic just pulls of of her face rather than the cable snapping in half.) As soon as Co un youre done with this setupand Instrumental Applications tr y ma nE Lets say youre a sound engineer for a it could literally only take a few min6 premier orchestra given that youre read- utesyou should go back to the coning this magazine, you may be in those shoes sole, let her play, and enjoy the warmth and already. Your violinist arrives for the frst day accuracy of violin-miking with an earset. Fastening an instrument mic on a fute wearing hats, positioning a soft-boom earset of rehearsal with her priceless violin that had its own seat on the airplane ride over. can produce the same horrifed look from the microphone within the hat can be a great You approach her with your instrument mic fautist as you got from the violinist but this way to pick up the actors voice with excel an excellent, high-end model with an el- time, it can also lead to vibration artifacts in lent gain-before-feedback and no one will egant system that clips onto the violin for your sound signal each time he presses on the ever see the mic. Also, with the mic positioned close pick-up. As you get close, the violin- keys. Again, let your earset do the miking. Place slightly in front of and above the face, the freists jaw drops, eyes open wide, and she tells the earset on the fautists ear, just as you would quency characteristics of the voice are accuyou forcefully, No way is that contraption to pick up his voice. Position the capsule about rately preserved. Try using a straightened-out touching my violin! Now what? Your produc- a half inch back from the corner of his mouth. soft-boom earset rather than a lav. You can er doesnt want stand mics theyre bulky, Use an omnidirectional element, unless you are avoid a lot of the hassle of taping, clipping and distracting, and always in the way. They get dealing with extreme feedback or isolation is- cleaning the adhesives of of the lav cable after Earsets More Than Just a Vocal Mic Although most earsets are intended for bumped and moved all the time. He specif- sues, where a directional unit with a windscreen the performance. Instead, you can simply use might be the choice. If youre miking someone the structure provided by the stainless steel speaking applications, some models ofer cally said, Close-miking only for this one. The answer? Go fnd your favorite soft- playing a pan fute, which can have a very boom to feed the earset through the cloth of acoustical and mechanical performance well beyond that, so the tool you already own may boom, fat frequency response, high-over- strong burst of air coming back from the closed the hat, and weave it exactly into place. You load earset. Fit it to the violinists face at tubes, lower the mic slightly below the corner can even hide the transmitter in the hat, makbe capable of even more than you realized. High-end earset mics feature a frequency this point, youre her hero for not clamping of the performers mouth, and always use the ing costume changes smooth and less chalresponse thats nearly ruler-fat from 20 Hz that other mic onto her precious instrument. wind screen. With a small enough earset, even lenging from the audio standpoint. to 20 kHz. Historically, such precise frequen- Bend the boom away from her mouth and the audience in the front rows will never know Mic Selection cy domain performance was expected only toward the violin. If youre using a mic with the performer is miked. With a world of choices available for earfrom half-inch diameter reference mics, but changeable frequency shaping caps, use the set mics at diferent prices, youre probably is now possible with tiny 0.1-inch diameter fat response cap for the most accurate and Theatre Miking Instrument miking is not the only means wondering where to start. Start with quality. elements used in ultra-miniature earsets. natural reproduction. An omnidirectional Harmonic distortion is nearly impercepti- element will give you the highest leeway in of creatively using your earset. Imagine Two mics, even if from diferent manufacble, even at sound levels exceeding 130 dBs. terms of placement. Run the cable down the you are a theater sound engineer, and you turing batches, should sound essentially the These characteristics can completely capture violinists back to an hardwired XLR adapt- need to mic the actors without any micro- same same sensitivity, frequency response, er (or bodypack) on her belt, and ask her to phones showing. This is where, for the actors noise characteristics, and overload level. the human voice, and much more. Quality is not just about consistency, its about durability. No matter what your application, the last thing you want is for your mic to fail in the middle of a performance. Youd also like to get some mileage out of it. Finding new applications for your mic is not the only way to get more bang for your buck choose a mic that lasts for years instead of months. Another tip: be creative! Lav users have traditionally outdone their earset counterOver 50 years of industry knowledge parts when it comes to creative mic placeand over 100 shows, conventions, ment. Pushing the lav tip out from behind a buttonhole, down the frame of a pair of eyeconcerts and corporate events glasses, in the sole of a tap shoe, sewn into successfully completed the cloth of a costume, clipped into the hair, taped to the foreheadwhat havent they LIGHTING STAGING RIGGING SOUND tried? The advantage they have is that lavs AUDIO VIDEO CERTIFIED TECHNICIANS have been around for 40 to 50 years, while earsets are in their teens. With that said, I LABOR & PAYROLL ANY SIZE SHOW propose a challenge to earset users to take this article and run with it, and fnd new and innovative uses for earsets that would make even the most inventive lav users proud. Wed love to hear your stories about what you tried and how it worked. So what about the mechanical design? I can barely see the earset when my pastor wears it does that mean it is fragile? Absolutely not. And with some models ofering diferent softness options for the boom arm, the earset can be gently bent into nearly any shape opening new options for the creative user.
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Stage Crew

Dr. Omer Inan is the chief engineer at Countryman Associates and a visiting scholar at Stanford University. Send your tips & tricks to



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By GeorgePetersen

Battle Born Tour

stadium tours, and his career launched from far more humble beginnings. I always had a passion for music having seen a lot of live shows, he recalls. While I was at university, I used to go to this dive bar that had a lot of bands. One night, the owner fred the sound guy, then turned to me and said. Hey, youre in here all the time and you like bands, so you want to do the sound? I had no idea what I was doing, but I said All right! and worked there for a year and a half, teaching myself through trial and error. I got better at it, and soon bands were asking me if I wanted to mix other shows for them and it built from there. It was literally being in the right place at the right time and here I am many, many years later, getting paid to do a job that I taught myself how to do. Stepping Up to MLA Gebhard is the type of FOH engineer who is never satisfed with the status quo. Constantly looking into ways of improving the sound of his systems, he became interested in Martin Audios MLA Multi-cellular Loudspeaker Array system, which has garnered rave reviews since its launch in 2010. There are a lot of PA systems that I quite like, such as the L-Acoustics stuf and the d&b and some of the Nexo stuf, but when Martin Audio brought out the original W8L, I absolutely loved that and the W8LC even today is fundamentally one of the best PA systems you can get. Its so musical. But according to Gebhard, the choice of PA really depends on what sort of music youre working with. A majority of the stuf Im doing now is the indie-type rock and pop music, and Martin Audio speakers really ft into that. We had been using the Martin L [W8L, etc.] system, before but I wanted to try something diferent for this new tour. I had considered moving to an L-Acoustics K1 rig. I do bits of work with SSE in England when Im not touring and I had used a lot of K1 systems and had fallen in love with that. Gebhards quest led him to London-based PA/rental company Capital Sound, who had been considering Martin Audios MLA system. It was still a relatively new system so not a lot of people had heard it. Gebhard had also been in contact with Southern California-based Delicate Productions, who had added an MLA rig, joining MHA (Hagerstown, MD), Special Event Services (SES, of North Carolina) and On Stage Audio in Las Vegas as key North American companies in the growing worldwide MLA Network. After I had fnished with The Vaccines, I took four months of, which freed me up to do some research and go to some events

ailing from the quaint, sleepy village of Las Vegas, NV, The Killers formed their rocking sound in 2001 and have since gone on become an international success, selling more than 16 million albums in the process. The band consists of frontman/lead singer/keyboardist Brandon Flowers, guitarist Dave Keuning, bassist Mark Stoermer and drummer Ronnie Vannucci Jr., although they perform live as a six-piece ensemble, adding two multi-instrumentalist keyboard/guitar players to complete their sound. To support the wildly successful Battle Born album, The Killers kicked of their 2012/2013 world tour with a series of sold-out arena shows in the U.K. and North America, with that leg ending Dec. 29 in The Chelsea at The Cosmopolitan of Las Vegas. The tour resumes Jan. 16 at the Metro Theater in Sydney, with seven Australian dates, followed by the U.K., Europe, South America and then returning for some North American shows in May and then to Wembley Stadium on June 22, set to be the bands biggest-ever standalone show. At FOH At the helm mixing front of house for The Killers is veteran live sound engineer James Gebhard, who has been with the band since 2004. Yet Gebhard didnt exactly start out doing arena and 36

Stage left hang, with MLAs facing front and side, fown MLX subs and W8LCs used as side flls.

where the MLA was being used, Gebhard explains. I had done some shows with a band called Maximo Park where the local provider was using MLAs. My frst show with them was at Columbiahalle in Berlin. Its known as one the worst-sounding venues ever its horrendous. The show was a very important high-profle gig for Maximo Park, because the management and label execs were there. It was the preview of their new album, it was my frst show with the band, who had missed their fights so there was no sound check. Yet it was one of the best gigs of my life; it sounded phenomenal and I put a lot of that down to the MLA system. Later I saw some more shows with MLA systems, including the Zac Brown Band in the States, and then went to Delicates warehouse, where I ran some multi-tracks of The Killers though an MLA system, which really sold me on it. I returned to England and talked


all photography by brendan shanley


to Capital wanting to use the MLA system with The Killers. The Killers Tour Rig Weve got 14 MLAs and two MLA-D down fll/in flls on each side and 12 MLAs on the side hangs as well. In rehearsals in Las Vegas, we experimented a lot with Kenny Kaiser, our mains systems guy. Were using 20 MLX subwoofers on the ground in a cardioid broadside array across the front of the stage. We also have three MLX subs fown in the air, because although the cardioid MLX has a 140 wrap, you lose the sides along the bleachers, so we fy three per side to fll in those areas. The MLX subs are amazing; theres so much you can do with them as well. Turning It Up To 11 Asked whether The Killers are fairly loud on stage, Gebhard replies with a laugh. Yes! Theyve got something like 12 M2s [d&b audiotechnik wedges] up there, and the side flls consists of six Martin W8LCs per side, so its kind of loud up there. But on the serious side, he added that this can be detrimental for the front of house mix, and were working with the monitor guy to get levels down, but its hard for many musicians who need what they need to get the performance vibe in their zone. A couple of them are on in-ears and the others are on traditional wedges and side flls, so with that mix of some on and some of, its hard to get the volume down. Brandon and the bass player are on wedges probably the two loudest aspects of any monitor mix are not using in-ears. At FOH Gebhard has long been a DiGiCo fan, mixing from an SD7 at with a 96kHz feed from the 92 inputs coming from the stage. Hes also running Waves SoundGrid, but no external outboard signal processing. Im using all plug-ins its all Waves stuf. Mainly the API stuf and SSL stuf, like the Buss Compressor over the drum groups. I also am using some Waves L3 compressors on the mains, which really tightens up the mix, bigtime. If you punch that in and out, you wouldnt think its the same band playing it really makes the mix so tight and fat. In terms of the money channel, Gebhard adds that Brandons vocal channel is completely fat straight up through the DiGiCo nothing else! Just a Shure 58A and the channel strip in the SD7. Mic-wise, we have a mixture of Shure, Audio-Technica, Sennheiser and E-V we dont endorse anything and just pick what works best. The only stipulation is that Brandon likes the sound of his 58A. Weve tried some other mics on

him, like a Neumann 105 or the Shure KSM 9, but he likes to cup the mic a lot and, when you do that, the colorization gets really harsh. At the end of the day, if theres something that a performers comfortable with and likes to use, then, as an engineer, its up to you make it work. Thats one of the nice things about the SD7. I can access the side chains on the dynamic EQs on the channel strips, so if he does cup the mic, I can compress that frequency and it doesnt add anything detrimental to the sound. Instrument mic selections are also a combination, using of what sounds best. We have a lot of Audio-Technica, with AE2500 on kick and AE3000s on the toms. Theres a Shure Beta 56A on the top and SM57 on the bottom of the snare, the overheads are Earthworks, the ride is an [Audio-Technica] AT4050 and an AT4051 on hi-hat. We also have a Shure Beta 91 also in the kick drum which the monitor engineer uses in the stage mixes, although I dont use that in the house. The majority of drum mics are Audio-Technica, while on guitars its mostly Shure, with KSM32s on all the guitars used by the six musicians. The bass is miked with an [E-V] RE-20 and Shure Beta 98A. The DIs are all Radial passive designs, which seem to have a warmer, nicer sound than active models. And in this digital age, anything thats warmer fts nicely into the mix. Sound Checks We dont necessarily have a sound check every day, but the band will come in and play some songs. I multi-track every show, so I can do a virtual soundcheck if they dont come in, says Gebhard. I believe that a sound check can be detrimental to an engineer, because rooms change so much between that cold, empty venue in the afternoon to a full arena later when the temperature and humidity kicks up. A lot of engineers can get lost in trying to tune it too much early on when, by showtime, its a completely diferent mix. So if youre comfortable where you were the night before, thats a great starting point. Challenges? Yes and No Aside from dealing with high stage SPLs, Gebhard is pretty comfortable with mixing The Killers shows. With the SD7, theres not much of a challenge, because Ive got my show fles with all my shows programmed and all my snapshots, which are mainly channel recordings, he says. Back in the analog day, it would be a hell of a challenge, because youve got multiple channel inputs coming in from the stage, with 26 used on some songs and 70 used on others. Once youve got the core of the band set in (bass and drums), its pretty stable, but when you add in

the electronics and keyboards, the levels can be somewhat diferent between patches. Dealing with those gain changes during the mix can be a challenge, but Ive been doing these songs for so long that thats really not much of a challenge anymore. The mix itself can be quite complicated, with six musicians onstage playing as much live as humanly possible. One person could be playing guitar and then three diferent key-

FOH mixer James Gebhard at DiGiCo SD7 with Kenny Kaiser looking on. SOUNd COmpANY Delicate Productions (U.S.); Capital Sound (U.K.)

The Killers Battle Born Tour

FOH ENgINEER James Gebhard

The audio crew, from left: Kenny Kaiser, Philip Reynolds, Fumi Okazaki and BJ Hemmingsen

SYSTEm ENgINEERS BJ Hemmingsen and Kenny Kaiser AUdIO TECH Fumi Okazaki dElICATE CREw CHIEF Philip Reynolds

boards during a single song, so if you dont really know that song inside and out, it can be a challenging mix to get your head around. Teamwork is Everything But Gebhard is also equally quick to express his gratitude for his support team, particularly system engineers BJ Hemmingsen and Kenny Kaiser and Delicate Productions crew chief Phil Reynolds. He also appreciates all the help he gets from the sound company. I have a long-term working relationship with them, and Smoother [Smythe] and Bryan [Bazilsky] at Delicate are really great. Its not just about the gear and the tour they put a personal aspect into being a vendor, and theyll check up with you to see how youre doing and always have a big smiley face. As a top frst-call FOH mixer, Gebhard remembers back to his early days and ofers this advice to novice engineers. From an mix point of view, probably the best thing you can do as an engineer is to have confdence in yourself and what youre doing, because I see a lot of young and very nervous engineers working at festivals. I always talk to them and ask if they need some help. The best thing an engineer can give them without being big headed is to have confdence in yourself. Look, if you couldnt do the job, you wouldnt be there in the frst place, so have confdence, take a deep breath, relax and just get on with your job.

FOH CONSOlE DiGiCo SD7 with two 192 racks mONITOR CONSOlE DiGiCo SD7 with two 192 racks SIgNAl pROCESSINg Waves SoundGrid mAIN SYSTEm Martin Audio MLAs with MLA-D downflls SUbwOOFERS Martin Audio MLXs SIdE FIllS Martin Audio W8LC STAgE mONITORS d&b Audiotechnik M2s 2013 JANUARY



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Step Six: Any Potential Audio Consultant Should Visit Your Space It is rare that audio needs can be fully addressed over the phone or with pictures. Understand that if you want the best results, you might have to spend money on more than just new equipment. You may need to bring in an electrician to run conduit and pull new wire. You may need to hire a structural engineer or rigging company to sign of on speaker-rigging points. Perhaps you may need to hire an acoustical engineer to give you a solid design for your space that can last for the next decade or longer. Step Seven: Allow Time for a Quote If you want quality, consultants will need more than 24 hours to give you a price. If you need to present a budget to your board by March 15, bring someone in by no later than February 15 to give everyone involved enough time. Be patient with your consultant as he/she reviews this information and works up a system quote for you. If your venue is large, it may require a full system design, in addition to a quote for new equipment and installation. Yes, this might cost

more money, but it will be worth it in the long run. This process can take anywhere from a couple of days to a couple of months, depending on the size of your venue and the amount of work currently on the consultants plate. Step Eight: Communicate with Your Consultant If you arent happy with the initial design, dont just shut the door and move on. We are here to work with you. As a side note to all my fellow audio colleagues out there I have been a pastors kid, grandkid, niece and/or cousin my entire life obviously longer than I have been in the audio industry, so I feel as though I have an inside track when it comes to church dynamics. And Ive learned that we need to be especially patient with house of worship clients. It is rare that they have a pile of money waiting to be spent. It is common practice for them to have to present proposals to a board or the fnance handlers of the organization, and more often than not, that money has to be raised. It might be several months before they can sign on the dotted line, so be prepared for that. In conclusion, Id like to relay some advice from my friends at the Boy Scouts of America: Be prepared. Courtney Klimson is the installation sales manager at Masque Sound.

means of understanding what you can and cannot do within a specifc price range. Step Two: Identify Any Consistent Audio Problems. Is there a specifc demographic of the congregants complaining? If so, it could mean that you need an assisted listening system. Do you have feedback all the time? You may just need some system tuning. Is your equipment outdated? You might be looking at a complete overhaul. Do you want to upgrade from an analog to a digital console? The list goes on. Step Three: List the Equipment Used for Regular Events Do you have a full band playing each Sunday? Is there a choir? How many people speak in a given service? Do you incorporate video into your events and, if so, to what extent? What is the occupancy of your space? Is there a balcony and is it in use? Do you ever rent it out for other functions, i.e. concerts, weddings, funerals, parties, etc.? Step Four: Get Details About Your Current System What equipment do you currently have? When did you purchase it? Who installed it? What do you think is broken and still under warranty? Youll get the gold star if you can produce a set of architectural drawings for your space. Step Five: Find an Audio Consultant Make sure you call a reputable audio consultant who can be trusted. Do a little research and fnd someone who has been recommended by a colleague or another house of worship. Call him (or her) and set up an appointment to have him look at your space, discuss goals and better assess the next steps in the project.

s a sales manager with the permanent installation division of an audio rental house, I have assisted clients with audio system upgrades of everything from grade schools and universities to churches, theaters and ballparks. When it comes to planning an upgrade, the technical aspects of a microphone, speaker or console are not of particular importance to me. That is the concern of Courtney Klimson our engineers. Im most interested in addressing the needs of my clients within a manageable time frame and budget. Here are some helpful tips Ive gleaned over the years on how to do this when assisting with an audio upgrade for a house of worship. Step One: Setting Realistic Financial Goals for Audio House of worship clients frequently ask me how much it will cost them to upgrade their sound systems. Often, they want an average ballpark estimate of the cost. Unfortunately there is no average ballpark estimate, as the cost of an upgrade can range anywhere from $1,000 to $1,000,000. This is because no two houses of worship are the same. However, I do understand that most clients are working within an annual budget and must fnd a way to squeeze the upgrade into that budget. Just as one needs to set fnancial goals or ministry-related goals, I too need to know what the facilitys goals are within the audio needs of the worship space, gym or multi-purpose room. It is extremely important to set realistic goals, as a 38

For 450-seat Royal Oak Presbyterian Church, built in 1923, a key emphasis was on architectural preservation.


brad ricks

Yamahas DXR/DXS Series of active loudspeakers and subwoofers are stacked with power. Developed with the industry-leading loudspeaker giant, NEXO, this new lineup utilizes ultra-precise 48-bit DSP processing to deliver high levels of SPL with superb clarity. Comprised of 4 fullrange models and 2 subwoofers, the DXR/DXS Series is available in a wide array of configurations and backed by a seven year warranty. Featuring a revolutionary compact design, these boxes soar high above the competition. For more information, visit

Yamaha Commercial Audio Systems, Inc. P . O. Box 6600, Buena Park, CA 90620-6600 2012 Yamaha Commercial Audio Systems, Inc.


Waves Plug-ins on Your Midas PRO9? Its Easier Than It Seems

By JoelLonky
Fig. 1: Basic signal fow in the setup to use Waves MultiRack plug-ins with a Midas PRO9, with full control from the console surface.

s front of house engineer for Rob Zombies Twins of Evil tour, I was mixing a very complex, chaotic, and often unpredictable show. I didnt have the luxury of knowing what might happen next, so the last thing I needed was a complicated setup that would require me to take my hands of the console to cue diferent functions and efects.

Problems and Solutions Thats why I could not have been happier with the solution devised by Greg Price at Martini Music and Scott Pederson at Waves that integrates a top-of-the-line Midas PRO9 live audio system with an extensive set of Waves live sound plug-ins hosted in Waves MultiRack. A key component in this setup is Sonnet Technologies Echo Express Thunderbolt Expansion Chassis for PCIe cards, which enabled us to access efects running on a MacBook Pro laptop directly from the PRO9 console. I chose the PRO9 console because I believe it has the best sound of any digital board in the industry today. The inputs can be driven hard like an analog desk, but without any of the audio penalties usually associated with a digital front end. The PRO9 sounds like my old XL4 warm, smooth, and full throughout the spectrum, without any digital harshness. The only thing that could have made it better was the ability to access to a complete setup of Waves plugins right from the PRO9 console. It turned out to be easier than you might think. The Setup The basic setup is shown in Fig. 1. From one of the AES50 ports in the back of the console, a CAT-5 cable carrying the AES50 signal connects to a Klark Teknik DN9650 Network Bridge that converts the PRO9s AES50 feed into MADI. The optical MADI signal from the DN9650 connects to a double-width RME HDSPe PCIe MADI card housed in a Sonnet Echo Express chassis. The Echo Express is a compact desktop unit that interconnects the RME via Thunderbolt directly to the laptop to complete the chain, delivering all the punch needed to transfer high-quality audio

between the computer, RME interface and PRO9. With this setup, we can control everything from the console. Theres no need to reach for the laptop; its all eyes forward and hands on the faders, and everything can be controlled from the PRO9 GUI screens. Making changes on the fy is easy using the KVM switches; we have full parameter control of all devices and the computer without ever having to move our hands from the console. We can easily bring back the default screens if needed, as well as the Waves MultiRack. Also, the RME card within the Sonnet Echo Express chassis provides MIDI capabilities, which enables snapshot changes from the console. As the laptop is connected to the Sonnet interface via Thunderbolt cable, simple VGA and USB connections from the computer to the PRO9 enable the console to display the Waves plug-ins directly on the right screen and allow for control of Waves plug-ins using the consoles integrated trackball and keyboard. On the Road For the Rob Zombie show, we created 37 snapshots with a scene for each in Waves MultiRack. The MIDI connection automatically triggers Waves MultiRack scene changes. Therefore, I can focus on mixing my show without having to worry about MultiRack and whether its coming up on the right scenes, or having to refer to a separate computer screen. The Waves plug-ins ofer powerful audio capabilities right from the PRO9 console. In one example, we ran Robs vocals through an HEQ, an equalizer with a built-in analyzer that really lets us contour the audio. Another great plug-in is The Kings Microphone, which we used on several songs to

provide a telephone/megaphone-style sound. The OneKnob driver gives us a great, no-fuss tool for adding distortion on the vocals. We also used a Puig compressor on the acoustic guitar to provide nice, mellow compression. For band member Piggy D.s vocals, we used three diferent plug-ins in a chain: an RVox compressor into a C6 into Doubler. We used InPhase on the bass, which accepts two audio inputs for comparison of waveforms and correction of the phase correlation between them. An Unexpected Bonus One more powerful capability of this setup is the ability to run Avid Pro Tools through the PRO9 console, which gives us virtual sound check and recording capabilities. The PRO9 has three AES50 ports off the back, so we were able to run 48 tracks of Pro Tools and still have capacity for 24 Waves inputs and outputs. We use two of the AES50 ports to connect via CAT-5 to another Klark DN9650 Network Bridge for conversion to MADI. The MADI signal then comes from the network bridge directly into the Pro Tools HD 9 box, which gives us full playback and recording ability through the PRO9. I cant say enough about this Midas PRO9/Waves/RME/Sonnet Echo Express configuration, which worked flawlessly throughout the entire Rob Zombie U.S. tour. The more I experiment and add new Waves tools, the more invaluable they have

Joel Lonky at the Midas PRO9

Supplier Contacts become. And the good news is that this





become. And the good news is this capability is relatively easy to achieve via standard off-the-shelf components, with simple, plug-and-play CAT-5 and Thunderbolt connectivity. Joel Lonky has served as FOH engineer for numerous live acts including Rage Against the Machine, Maroon 5, Cypress Hill, Collective Soul and of course, Rob Zombie.


Ultimate Ears Personal Reference Monitors
Welcome to the next frontier in custom earphones custom sound. You dictate your personal sound signature based on your tastes and needs. We custom tune your earphones to your precise specications.







Aurisonics ASG-2
Transducer 15mm driver with dual tweeters Impedance 34 Ohms Sensitivity 123 dB/1mW Isolation varies due to individual ft Color Frosted clear; plating colors optional Notes Earmold ft option, replaceable cables, optional bass port. Company also makes custom earmold models? Yes Price $499

By GeorgePetersen

Universal-Fit Earpieces for IEM Systems

n-ear listening systems can significantly improve nearly any show. The best option is earpieces with custom earmolds made by an audiologist that precisely match a performers ear canal. Unfortunately, this is not possible in every situation, so lets examine some current offerings in universal-fit ear-

pieces. We should mention that companies such as JH Audio (, Sensaphonics ( and Ultimate Ears ( only make custom earmold products, which are not covered in this article. Note: Unless otherwise noted, all prices quoted are street prices.

Transducer Single driver Impedance 41.5 Ohms Sensitivity n/a Isolation 26 dB Color Black Notes Earmold ft option, Kevlar reinforced cable. Company also makes custom earmold models? Yes Price $229

Earsonics SM3-V2
Transducer Three drivers Impedance 34 Ohms Sensitivity 122 dB/1mW Isolation n/a Color Black Notes Replaceable cable. Company also makes custom earmold models? Yes Price $499

Transducer Single driver Impedance 16 Ohms Sensitivity 121 dB/1mW Isolation n/a Color Dark gray-silver Notes Sliding cable tie for tension adjustment. Company also makes custom earmold models? No Price $79

Etymotic Research ER4 MicroPro

Transducer Single balanced armature Impedance 27 Ohms Sensitivity 108 dB/1mW Isolation 35dB - 42dB Color Black Notes Earmold ft option. Company also makes custom earmold models? Yes Price $249

Transducer Single neodymium driver Impedance 32 Ohms Sensitivity 100 dB/1mW Isolation n/a Color Black Notes Locking mini-plug connector. Company also makes custom earmold models? No Price $119

Future Sonics Atrio

Transducer Single 10mm driver Impedance 32 Ohm Sensitivity 112 dB/1mW Isolation <30 dB Color Black Notes Proprietary mg7 transducers. Company also makes custom earmold models? Yes Price $179



Galaxy Audio EB-10

Sennheiser IE 60

Transducer Dual driver Impedance 22 Ohms Sensitivity 120 dB/1mW Isolation n/a Color Clear Company also makes custom earmold models? No Price $279

Transducer Single neodymium driver Impedance 16 Ohm Sensitivity n/a Isolation 29 dB Color Black Company also makes custom earmold models? No Price $249

Hear Technologies Hearbud Headset Monitors

Transducer Single driver Impedance 32 Ohm Sensitivity n/a Isolation n/a Color Blue-black Notes Combines standard-sized earbud with soft, molded Hearbud extensions that ft into ear canal. Company also makes custom earmold models? No Price $35

Shure SE535
Transducer Triple balanced-armature drivers Impedance 36 Ohm Sensitivity 119 dB/1mW Isolation <37 dB Color Clear or metallic bronze Notes Detachable cable; earmold option available through Sensaphonics. Company also makes custom earmold models? No Price $499

Logitech UE 900
Transducer Quad balanced armatures Impedance 30 Ohms Sensitivity 105 dB/1mW Isolation 26 dB Color Blue-silver Notes Designed by Ultimate Ears. Company also makes custom earmold models? No Price $399

Sony MDR-7550
Transducer Single 16mm neodymium driver Impedance 16 Ohms Sensitivity 108 dB/1mW Isolation n/a Color Black Notes Flexible ear hangers Company also makes custom earmold models? No Price $299

Point Source Audio EM-3

Transducer Single driver Impedance 32 Ohm Sensitivity 120 dB/1mW Isolation n/a Color Silver Notes Unique ear guide routes cable over the ear for increased comfort/stability. Company also makes custom earmold models? No Price $89
Transducer Triple driver Impedance 56 Ohm Sensitivity 124 dB/1mW Isolation n/a Color Clear-black

Westone UM3X

Notes Three-way crossover; also available as UM3X RC with removable cable Company also makes custom earmold models? Yes Price $379 2013 JANUARY




PreSonus StudioLive AI-series Active Integration Loudspeakers

ou heard it here frst: At this months running 2,000 watts of Scandinavian-made NAMM show, PreSonus is unveiling power modules [4 x 500W] in diferent conthe results of one of the largest R&D fgurations. It also has the ability to set up its projects in the companys 18-year history. Its own ad-hoc network with other speakers and called Active Integration, and this technolo- an iPad in the room. Essentially, the DSP can gy is incorporated into the newest genera- function as its own drive rack-style processor, tion StudioLive 32.4.2AI 32-channel mixer communicating with all the other speakers in (spotlighted on page 23) and PreSonus the system and helping you analyze diferent new advanced StudioLive AI-series live issues and talk to each speaker individually or sound speakers. But rather than a another as a system. The key to Active Integration technology me-too speaker-on-stick design, the new AI series grabs the industry by the horns is how it combines wireless and wired netand teaches it a few new tricks along the working/communications with the powerful DSP to create a unifed working environment. way. The line consists of three 3-way top All StudioLive AI series loudspeakers include cabinets and a subwoofer. The StudioLive a USB Wi-Fi module to connect to SL Room Control, the companys Mac OS 328AI has two 8-inch woofX/Windows/iPad system-coners fanking an 8-inch coaxial fguration application. Available driver with a 1.75-inch titanium parameters/control functions compression driver. That same include 31-band graphic and coaxial is used for MF/HF repro8-band parametric equalizers, duction in the 312AI (with a 12muting, soloing and level coninch LF section) and the 315AI trol, in addition to performance with its 15-inch woofer. Each PreSonus founder/chief strategy ofcer Jim Odom monitoring (over-temperature, top model has onboard Class-D amplifcation for a combined 2,000 watts of click detection and over-excursion). A network-setup wizard helps quickly power; the companion 18sAI 18-inch subconnect each speaker to a wireless network woofer has 1,000 watts. and an included Ethernet port on each speaker can be replaced with future options such Something Very Diferent Very cool so far, but what really sets these as an AVB or Audinate Dante option card. apart from the crowd is whats under the PreSonus is also a founding member of the hood and the team behind the technology. OCA (Open Control Architecture) Alliance, so We spoke to PreSonus founder/chief strategy the new Active Integration products could inofcer Jim Odom and he ofered this preview. terface and network with products from othThis project came about as early as 2008- er manufacturers. Odom is defnitely enthusiastic about the 2009, when we started doing research on different speaker system confgurations, work- possibilities of AI. The concept of Active Inteing with Dave Gunness. We were interested gration comes from all the onboard DSP comin coaxial products, because they gave us the municating with mixers and iPads. And now response we were looking for. Dave has done that all these products can talk and commusome stunning work using DSP with coaxial nicate together with each other, its creating designs at Fulcrum Acoustics. David is a stun- a software/hardware control integration into ning speaker designer, and Ive been blown a single system. SMAART can run in real-time through the mixer, although you may want to away with how much Ive learned from him. And DSP proved the key to what became run it on a computer if you want to do things the AI Series. These new DSP-driven speaker like transfer function analysis. For years, weve systems have as much onboard DSP core as been moving toward building this ecosystem our new 32-channel mixer, Odom explains. of products that are pretty advanced, but at Using all that processing power, David has the same time, a church boy could set them meticulously tuned all the refections from all up and be stepped through setting up a the coaxial horn and other drivers using system properly. these giant FIR [Finite Impulse Response] flters. Its a Linux core inside a loudspeaker Power, and More Power Theres plenty of punch from the builtin amplifcation, but theres another side of power as well. One impressive aspect about StudioLive AI is the serious amount of DSP horsepower in each enclosure, which allows the real-time application of 1,024-point FIR a feat that would have been impossible (or very slow) just a few years ago. Inside each speaker, a custom Linux operating system runs on a platform based on a 470 MHz Texas Instrument OMAP multicore processor, with plenty of onboard RAM. By running the highend, high-defnition Burr Brown converters at 96kHz, the group delay is in the blazingly fast 700-microsecond range. Implementation and fexibility was also a priority. We really wanted to build a product

By GeorgePetersen

The StudioLive AI speaker family.

1 What it has
Each full-range system has a Combo XLR/TRS line input and an XLR microphone input with an XMAX Class-A mic preamp and 12V phantom power. The full-range speakers have M10 fy points and all enclosures sport lightweight plywood construction. Additionally, the full range models have built-in low-cut flters for easy combining with the 18sAI powered 18-inch subwoofer, and the sub has onboard alignment delay and phase correction controls, as well as a bass management crossover.

2 Options
Options for the AI-series speakers will include a mountable Sub Dolly for easily transporting the 18sAI sub and a pull-tested Sub Pole to mount a full-range system atop the 18sAI. An M10 Kit, which contains four M10 eyebolts, allows fying any full-range model in a permanent installation. Protective covers for all models are also planned.

StudioLive AI Street Prices

312AI 328AI 315AI 18s subwoofer $1,399.95 $1,499.95 $1,599.95 $1,299.95

that people could experiment with, if they want to, says Odom. The speakers have a full USB 2.0 port, so there are all kinds of possibilities there, and as a host in this environment, you could plug in a USB thumb drive and actually load in an entirely new speaker tuning, if you wanted. If youre a tweaker, there are 31band graphic EQs and parametrics onboard, and using the speaker control software for iPad and other things, you can play with the EQ and delays on each speaker individually or over an entire system. Being able to timealign individual speakers was something a lot of people we spoke to had requested and you can move a speaker in very fne detail, even a half-inch back and forth or 100 feet and its all built-in. This versatility opened creative possibilities as well. Some of the Fraunhofer guys were here, and they were excited about what we were doing, Odom says. Theyre working on a system that puts hundreds of boxes in a room and then has a signal follow the artist around the stage. Its all done with delays and level changes, so it pulls your ear to a certain location in the speaker system. Ours can update delay changes up to 100 times per second over a Wi-Fi system, so you could actually have it follow somebody around a stage or even a room. Obviously, not everyone is going to jump in that deep, but the concept of the AI Series hold true, with a system that according to Odom, can be as simple or as complicated as you want it to be, even if you dont know what youre doing. For example, theres even an MP3 setting on the back, with a voicing that makes your MP3s sound better. Gunness has always been unhappy with the sound of MP3s, so you can apply a curve he designed that really help them out and make them sound better. Playing Favorites With many systems, the high-end entries in the series get the most attention, but the small 328AI proved to be a favorite among the entire development team. The speaker can double as a punch 2,000-watt stage wedge (with an onboard monitor (highpass flter) setting for foor use, but like the 312AI and 315AI, also has a pole mount for vertical FOH applications. What About Me? With the onboard computation built both into the speakers and new 32-channel StudioLive 32.4.2AI mixer, system control/networking is available without having to bring a laptop to the gig one less thing to carry. The new mixers also support both Dante and Thunderbolt, as well as FireWire 800. Eventually PreSonus plans to reincorporate the 70,000 or so existing StudioLive mixers into AI, starting with an optional FireWire-to-Dante gateway. This will happen sometime after the new products get into the market and are established, and will require having a computer connected to your older StudioLive, so previous owners wont be left out of the AI fun.

Shipping is slated to begin late-frst quarter 2013.

More info at




VUE Audiotechnik a-Class Loudspeakers

By EvanHooton

ess than a year old, VUE Audiotechnik was founded and developed by two industry pioneers (Ken Berger and Jim Sides) who are noted for developing highly respected speakers for other manufacturers. And from what weve seen and heard so far, VUE may very well be on its way to becoming a standard in audio excellence. VUE Audiotechniks a-Class systems are full-range cabinets loaded with a neodymium LF transducer, neodymium compression driver and a high-order crossover. Each compression driver has a 3-inch voice coil and is mounted to a 70 by 55 horn that can be rotated for either horizontal or vertical confgurations. The a-Class line includes four sizes of full-range cabinets: the compact a-8 and a-10 systems, along with the a-12 and a-15; the numbers correlate to the woofer size in inches. The a-12 and a-15 are capable of operating passive single-amped or bi-amped mode with a fip of the high current switch on the enclosure rear panel. Features, Functions

VUE Audiotechnik a-Class

The a-Class family, (L-R): a-8, a-10, a-12 and a-15.

I checked out pairs of the a-12 and a-15 along with an as-115 subwoofer. The 8-ohm a-12 has a 55 Hz to 18 kHz response, 900W RMS program power handling, 1W/1m effciencies of 96 dB (passive) and 107 dB in bi-amp mode, 128 dB max SPLs, weighs 44.8 pounds and costs $1,995. The 8-ohm a-15 has a 52 Hz to 18 kHz response, 1,200W RMS handling, 98 dB/passive and 107 dB/biamped efciencies, 131 dB max SPL, weighs 59.5 pounds and has a list price of $2,495. The single-15 as-115 sub has a -3 dB frequency response down to 38 Hz, 1,200W power handling, 95 dB efciency, weighs 79.8 lbs. and has a list of $995. The full range models have a pentagon shape to them so that they can be used in either FOH or monitor orientations. Their pentagon shape also allows arraying the cabinets in vertical or horizontal confgurations utilizing the integrated M8 fy points. Also standard are integrated handles and 36mm pole mount to be positioned on stands or above any of the VUE subwoofers. All are coated in a nice, rugged, textured black waterproof polyurethane. The subwoofer family includes the as-115 subwoofer, as-215 dual 15-inch and the as418 quad-18 isobaric subwoofer. The a-Class subwoofer components feature large, 4-inch voice coils for increased power handling and decreased power compression. The breadand-butter as-115 is a solid, front-fring vented design; the as-215 and as-418 subs ofer signifcantly more punch. In Use For my frst outing with the a-15, I used them as monitors. They are certainly not a low-profle box when in a horizontal position, but they make fantastic wedges. I was powering them with 1,600 watts (slight overkill) but you could certainly tell that they could take it. Jim Sides told me that during development, the high-end of the frequency response was intentionally left intact to reproduce a nice, crisp clarity. To my ears they were a little bright in the 2 kHz to 2.5 kHz area so I took down everything from the 1.2k to 3.2k range to smooth it out a bit. This was especially

250 seat theater, and needed when using Flyable and arrayable; cabinet shape can foor wedges; rugged; fairly again, they did not disthem as monitors in lightweight; passive or external appoint. In fact, I was the near feld. crossover-capable; great sound with not entirely sure they Once they were minor EQing. were on at frst. I had to tweaked a bit, the reCONS actually push the main production was really Slight harshness in the 2k to 2.5k slider to make sure I quite astonishing. The range; unpowered. had not lost power to a-15s were smooth COStS (MSRP) the amplifers. Nope! and clear from one a-12 $1,995 The a-12s kicked in point to the other. To a-15 $2,495 with a defant growl be honest, they were as-115 $995 of extremely rich and actually a bit much for crisp sound. The a-12 what I actually needed wEbsItE is a very well designed for this room. They carsystem, and you can ry quite a bit of lowend and I had a little bit of trouble working tell a lot of thought went into all aspects of tryaround that, but some of the issue was the ing to achieve a new standard in audio reprostage I was on and the room I was in nei- duction. I did not get a chance to use them as ther of which helped much. The room is very foor monitors, but I would certainly not have a low-end heavy itself and at a point I was hear- problem having six of them around for a moning more of the a-15s from the stage and in itor rig. There are quite a few passive 15-inch the microphone. That would normally be due wedges that I would pass up in order to have to other user-error type issues but the fact of the opportunity to use the smaller but wonthe matter is that I only had to crack on the derfully precise and powerful a-12s. When the a-15s were used as mains for monitor send about a sixth of what I normally have to for the house monitors which are another corporate-type production, I was dual-15 deep stage monitors. The a-15 cabi- able to get a glimpse at the true ability of nets are very well designed and really do pack what they were intended for. All of the VUE lines were developed with the intention of a punch that is as smooth as silk. I used the a-12s as mains for my initial creating a natural sound while delivering it test. My jaw dropped when I turned them on; I realized that they had some fght in them. Granted, the corporate room that the show was in was not that big, but they held up very nicely with a six-piece corporate dance band that I use as guinea pigs for testing new gear on a regular basis. They were more than enough to support the band and cover the designated area as they each sat upon an 18inch subwoofer. I equalized the mid frequencies a little bit because of the musical style. Once again, VUE provided an exceptionally smooth speaker that I was very pleased with, and so was the band. They could not believe that the a-12 cabinets were actually pushing out that much sound and not distorting it in any way. In fact, the a-12s could have taken much more of a beating and kept going before even thinking of cracking. My next gig for the a-12 system was also for mains, used for a church service in a 250seat theater. Yes two 12-inch speakers for a


in what would be considered utmost quality. You could hear the hairs from a bow run across the fngerboard of a violin, hear the subtle breathing of the vocalist into the microphone and also hear when you have hit the speakers crossover point while EQ-ing. I say all of that in a good way, because these speakers will do exactly what you are looking to do and tell you when you are doing something wrong. Such as when you should be using a Beta-58 instead of a regular SM58 to go for that extra sibilance and tighter pattern on the low-end of the source. I liked the overall look of these cabinets and the fact that they werent really that heavy. Theyre easy to move around and rugged enough to handle some road travel. The heavy-duty mode switch for changing from full range to bi-amped mode is quite nice, and it is tucked up in the back plate of the cabinets to prevent the risk of having them rip of or snap. The a-12s and a-15s I tested were delivered in the custom-built VUE road cases that let users put two speakers per case with a snug ft. The option of buying either set as a pair in a road case is a big plus. Adding a VUE system to a rental inventory would be one addition for which youd certainly thank yourself for later. My ideal system would be two a-15s, two as-115s and fve a-12s. If you needed to have a killer drum wedge, then plop an a-15 on top of an as-115 and watch the drummer head for the door. Youd never run into another More kick! More kick! situation with that setup. I highly respect what the VUE team has done with the a-Class systems and can see exactly where they were going for during the development stage. I can say with some confdence that you would not regret picking up a VUE system of any size. If this sound is any indication of the continued quality that VUE will uphold, then I cannot wait to see them put it into a line array system. For more details on VUE Audiotechnik and its products, see FRONT of HOUSE, June, 2012, page 52 ed. Evan Hooton owns Pure Quality Sound Productions and operates the Stargazers Theatre. Reach him at 2013 JANUARY


ROADTEST Rupert Neve Designs 5045 Primary Source Enhancer

By GeorgePetersen

upert Neve is one of the greatest circuit designers in the history of pro audio, and his name is synonymous with excellence for recording engineers everywhere. So when Rupert gets involved with a live sound product, we should take notice. Housed in a single-rackspace chassis, the 5045 Primary Source Enhancer is a two-channel device thats designed to reduce feedback, without creating undesirable audio artifacts/byproducts or negatively impacting the sonic integrity of the source signal. The annals of sound reinforcement are flled with past such devices a few good, many not-so-good, so I was anxious to put the 5045 through its paces. The 5045 takes an unabashedly analog approach to the age-old problem of feedback re-

duction and the extremely Spartan front panel bears this out. Each channel has controls for Time Constant, Threshold and Depth, along with switch selection for RMS/peak detection and process in/out bypass. Although appearing very gate-like, the 5045 difers signifcantly from a traditional noise gate approach. Both devices will attenuate the output when a signal falls below a user-defned threshold, but the 5045 is designed to sense when a mic is operating, allowing the signal to continue, while reducing the gain in

the absence of a signal thus lowering the chance of feedback. No flters are inserted into the signal, which often creates coloration in other anti-feedback devices.

Connections are a snap. The 5045s balanced XLR inputs/outputs can be fed from external mic preamps or used with your boards analog channel insert jacks. And with three knobs to tweak, operation couldnt be much easier. The Time Constant control sets a combination of attack and release settings. Its a rotary, six-position switch, with no defned values, although the manual recommends either the C or D setting

Ready, Set, Go!


as starting points Rupert Neve Designs 5045 for most vocal PROS applications. The Great sound, simple operalonger-release tion, transformer balanced A setting works I/Os. better for sourcCONS es with more Somewhat pricey, uses exsustained notes, ternal power supply. such as miked WebSite fute. The old control is a Price (MSRP) $1,795 rotary pot with a 30 dB (-18 to +12) range and is used to determine the level at which the processing kicks in, and the Depth control determines the maximum amount of processing that occurs, ranging from 0 dB to -20 dB. With the latter, 0 dB equates to no efect, while -20 dB creates the greatest attenuation and keeping the knob centered around -10 dB ofers a lesser chance of any words being cut of, which increases as it is increased.

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My frst outing with the 5045 was mixing the annual holiday concert for the Oakland Youth Chorus for a 500+ crowd at Oaklands First Presbyterian Church. Its a beautiful building with a soaring 53-foot ceiling built in the style of a neo-Gothic cathedral, but an environment thats acoustically so reverberant that its tough to mix in. In fact, the mix was no picnic, due to the nature of the room. I didnt need any reverb on this gig! The room itself has a wonderful sound, like a large hall reverb return. While sweet, this creates a recipe for feedback disaster, especially when miking small children with weak voices who like to stand about three feet back from the mic and sing very softly. Punch up the gain, and this highly refective space is going to generate major feedback. Its less of an issue with the mics that are placed farther back to pick up the rest of the choir, but the two downstage soloist mics have always been problematic in this venue. One way to counter this is to place the mains (in this case a pair of two-way QSC K10s) farther forward of the stage, on stands set up above the third row, tilted downward slightly and about 20 feet in front of the choir plane. These were delayed about 20 milliseconds so the sound from the speakers arrived at listeners at the same time as the acoustic sounds of the childrens voices from the stage. Yet even with that, the combination of the hard stone refective walls and soft kids voices still proved a challenge. During rehearsals, I patched in the 5045 into the inserts of my console, set the threshold and kicked it in. I then slowly increased the Depth control, switching the bypass control in and out, until the edge of feedback occurred in the out position. Leaving the processor engaged, I gradually increased the Depth until some artifacts were slightly audible (towards the extreme -20 dB end of the scale), and backed the depth of slightly, which yielded a 14 to 15 dB increase in level, with no feedback, glitches or choppiness a huge and noticeable improvement. On subsequent gigs, the 5045 proved equally useful, particularly with headset and lavalier mics, which can be prone to feedback. Generally, the 5045 is nearly silent in operation, with perhaps only a hint of audible processing noise, and then only at the most extreme settings. But it certainly does its job and does it well. Now if only there was a plug-in version...

In the Field




From Russia, with Cher

Eurohall Moscow Show SET LIST
Video 1 All or Nothing I Found Someone Video 2 The Beat Goes On All I Really Want To Do The Shoop Song Gypsy Dance/ Gypsies, Tramps and Thieves Eagle Dance/Half Breed Video 3 Burlesque Dance/ Welcome To Burlesque Take Me Home Video 4 Heart of Stone Turn Back Time Believe Dance/Believe would actually have the means to make this event happen. However, as days went on, it became apparent that we would defnitely be heading to Russia just before Christmas. Production manager Greg Bogart, monitor engineer Brian Hendry and I soon began earnest discussions regarding the audio requirements for this venture. Big Production, Little Time The production concept presented to us included Cher, singers Patti Russo and Nikki Tillman, plus eight dancers (Suzanne Easter, Sumayah McCrae, Jackie Dowsett Ballinger, Mikaela Arneson, Jamal Story, Scott Fowler, Marlon Pelayo and William Wingfeld) choreographed by Dori Sanchez. Music tracks would be created by musical director Ollie Marland and played back using a Pro Tools rig operated by Pablo Minguia. As is customary in Chers performances, video clips would also punctuate and highlight the show. The show was going to be only 45 minutes in duration, but many elements had to brought together in a short time to make this project work. (For a set list, see sidebar, this page). The show was to be presented in a rapid fre, no-break format so coordination between all departments needed to be fawless. There were four Los Angeles rehearsal days booked at Le Studio, a dance facility in Culver City. Eleven of the 12 songs in the set included the dancers. Four of the songs were not in the set we performed at our last shows in Las Vegas. We had a lot to do, with only had a short time to get it all done. The Gear Both Brian Hendry (monitor engineer) and I felt it was important to work on the same basic equipment we had employed during the last Cher shows in January 2011. On our equipment spec, we both opted for Avid VENUE Profle consoles. Cher, Patti and Nikki would be singing into the Shure UHR-R
Cher arrives in style at the soundcheck in Moscow.

ow far would you go to work a show with one of your favorite artists? When I was frst contacted about traveling to Moscow to participate in a performance with Cher, my internalized answer was, Really? but my externalized answer was, Oh yeah! The show was a private party held by Russian businessman Suleiman Kerimov and would take place at Eurohall, a large upscale restaurant in Moscow. Initially, it was a bit difcult to believe that an individual

Console Yamaha PM5D-RH w/Big Ben clock Speakers Main PA: L-Acoustics KUDO (6 per side), SB 118 subs (4 per side), SB 28 subs (2 per side); Front Fills: L-Acoustics 112 XT (4); Out Fills: L-Acoustics ARCS (3 per side) Amps L-Acoustics LA 8 (11)

wireless systems and KSM9 capsules that they had last used during our three-year run at Caesars Palace. We also requested that another two wireless systems with DPA 4088 headsets be available if Cher decided to use them, as she had in Las Vegas. In communication with our production, the specifc equipment requests were forwarded to our contacts in Moscow. We soon received a detailed equipment specifcation from the sound vendor in Russia. (See Gear List sidebar, this page). Brian and I were extremely pleased to see that all speaker systems were top-end gear from L-Acoustics. The only foreseeable problem we needed to address was the choice of console systems. Neither Brian nor I had applicable fles for the Yamaha PM5D, and we had a very short setup window for rehearsals in Los Angeles and at the venue in Moscow. We had initially expected having a rehearsal day in the performance room in Moscow but we were subsequently informed that this was no longer possible, as a conficting event was now scheduled for that particular venue. The constraint of time made it imperative that we fnd Avid consoles over there. My frst call was to Sheldon Radford at Avid in Daly City, CA. I inquired about the availability of VENUE Profle systems in Moscow. Sheldon advised me that Profles did exist there, and he would start networking immediately to fnd the right contact person in Russia. The frst email response came from Ravisankar Nadiyam, the sales rep for Avid in Dubai. He asked me for the specifc show/console details and told me to stand by. The next communication came from Moscow-based Anastacia Moguchaya, the territory account manager for Avids EMEA sales. Moguchaya gave me contact information for two sound vendors in Moscow who would be able to furnish us with the Avid VENUE

By DavidMorgan Profle systems we were seeking. I love networking! Just two days after my frst phone call to Sheldon Radford, Avid had found exactly what we were looking for in Moscow. This example of superb customer service from the manufacturer is exactly what engenders such ferce product loyalty among those of us who are end-users. Things started trending in an upward direction as soon as it was confrmed that our choice of consoles would be provided in Moscow. Clair Soundworx (Cerritos, CA) duplicated our chosen gear for the L.A. rehearsals. I used the saved data from our last Las Vegas shows to restore input and plug-in parameters for this modifed setup. The frst two days were dedicated to dance rehearsals. This gave Brian Hendry and myself the time to fne-tune the stems we were receiving from Pro Tools and to build the snapshots for the individual songs. It was soon determined that we needed to add two more rehearsal days, and that positive development took a lot of pressure of everyone.

Good News and Bad The next bit of good news came from Russia. The producers had found a rehearsal venue in Moscow that would allow us to simulate show conditions. However, that bit of good news was tempered somewhat by the announcement that our consoles for the show day would not be available for this rehearsal. This fact made those two extra L.A. rehearsal days even more valuable to our preparations. End of Part 1. Stay tuned for next months On the Digital Edge column, where David Morgans Russian one-of adventure continues, with a few more hitches and difculties. Dont miss it! Catch up with David at dmorgan@fohonline. com.

Console Yamaha PM5D-RH w/Black Lion clock Speakers L-Acoustics 112 XT (8); Stage Front Speakers: L-Acoustics 112 XT (1 per side), SB 118 sub (1 per side) PMs Sennheiser 2000 Series (6 channels); Sennheiser 2000 Series (16 bodypacks) Amps L-Acoustics LA 8 (4) Mics Wireless: Shure UR2 systems with KSM 9 heads (4); Sennheiser 5000 Series with DPA cardioid headsets (2) 2013 JANUARY



By DanDaley

CueCast Brings Data Management to a Digital Business

Converting show les on CueCast takes just three easy steps simply upload your le to the secure CueCast site, specify the format you need, and download the converted le for installation in the new console. Danny Abelson
comes at an interesting time. The transition to digital audio mixing for live sound is in full swing, with a second and, some might argue, third generation of digital desks hitting the market now, and the number of live events has exploded, not only in music but also for corporate and other sectors. At the same time, the live event business is under the same pressures to develop and integrate more efficiencies and increase productivity. Being able to recall settings from the cloud in the event of some disaster befalling a console is one thing, but more common now is the need to use a single console for multiple events, such as at music festivals. If your data is formatted for Yamaha but you have to use a console made by Avid or DiGiCo at the venue, youre looking at a lot of time spent inputting your data assuming you have any time before the downbeat. Finally, the cloud, where CueCasts storage and conversions take place, doesnt elicit the trepidation that remote server storage once did. Consumers and companies are more comfortable leaving their information in that amorphous blob now. In terms of cost, CueCast charges on a sliding scale based on the number of channels to be converted, starting at $48 for up to 24 channels and up to $588 for the limit of 196 channels; a typical 56-input configuration costs $168, per conversion, with monthly charges for ongoing storage of original and converted files kicking in after about 25. CueCast plans to offer the first two conversions for free, then will charge after that. Abelson declined to discuss CueCasts start-up costs, though he did say that the most cost-intensive aspect of the project was in the development of the software CueCast uses to parse various manufacturers console settings data contained in user-generated show files and perform conversions between them. But some back-of-the-envelope calculations suggest CueCast could generate some positive revenue. A large SR provider with 200 consoles at an average of 56 channels requiring as many as five conversions each comes to $168,000. Once start-up costs are amortized, what should be relatively affordable marketing, data storage and ongoing software development costs will likely result in a manageable overhead. As the digital console market continues to expand, the need for conversions and storage increase along with it, creating momentum for demand. CueCast can also be a value-added service for these same SR companies, who can surcharge their own clients for conversion and storage services. Its not all plug-and-play. The conversion process which was extremely complex to begin with, requiring reconciliation of differences in the feature sets and methodologies the various manufacturers use in their product is highly but not absolutely automated. Functions and settings that are common to two consoles are directly converted from one format to the other; when there are differences, or when a function found on one board is not supported by the other, CueCast notifies its client of the potential interoperability issue and, if possible, will suggest a workaround. And then there will be ongoing software revision costs as manufacturers update and revise their software and the way the data is stored within the users show files. Finally, Abelson concedes that live sound is an innately conservative business, and it will take time and persistence to convince the largest players to incorporate CueCast into routine operations. Fortunately for Abelson, the technical bar is fairly high; he may not have to contend with a lot of competition, and despite the potential for it to become ubiquitous, the service is still the kind of niche that a single vendor can dominate. CueCast solves an information management issue for a business thats becoming increasingly data driven. Nate Silver would be proud. For more info, visit Dan Daley is a noted journalist and bon vivant. Reach out to him at
george petersen

f the recent presidential election taught us nothing else, its that data has replaced content as the king of media technology. No matter how good a show could potentially be, if you suddenly discover that the FOH console you were expecting to use for it is lying in pieces on the wrong end of a loading dock 2,000 miles away, its not the missing faders youll really be stressing about but rather the missing information, like channel labels, phase, delay, filters, EQ, inserts, compression ratios, gate thresholds, aux sends and masters settings that those faders would have been accessing. President Obama had Nate Silvers FiveThirtyEight blog to accurately parse the reality from many disparate pre-election polls. Sometime this year, live sound is going to have access to some clever data parsing of its own. CueCast, a digital mix console file-conversion service, is the first product of Zeehi, an entertainment technology company developing solutions to improve the workflow of entertainment production professionals, worldwide. And now that CueCast has

CueCast founder Danny Abelson

come out of the extended beta period its been in since last summer, its ready to go live and large. The brainchild of Danny Abelson, an entertainment electronics consultant, Boulder, CO-based CueCast is an online service that lets individual livesound mixers and SR companies small and large upload their consoles data, store it on CueCasts servers and have it converted from its original format to that of another manufacturers, then download the converted data to the new destination desk. A Cross-Platform Solution The heart of the service is the conversion process, which takes place transparently in CueCasts cloud. Currently, the service supports Avids VENUE D-Show, VENUE Profile, VENUE SC48 and VENUE SC48 Remote; DiGiCos SD8, SD8-24, SD10 and SD10-24; and Yamahas PM5D V2. Development is underway to support other brands and models. The range of parameter data is considerable, including input channel settings for features that reside post-preamp gain (due to I/O architecture) such as labeling, group assignments, dynamics, EQ, phase, bus configurations and so on. Future iterations of CueCast will convert variable level settings, snapshots and other features requested. CueCast solves a fundamental problem in audio engineering: transferring complex user settings from one console to another without the time-consuming headache of entering those settings manually, says Abelson. Converting show files on CueCast takes just three easy steps simply upload your file to the secure CueCast site, specify the format you need, and download the converted file for installation in the new console. Its a novel concept, and one that




Optimizing Acoustic Guitars On Stage

ealing with acoustic guitar in a live environment can be tricky business. A lot of external factors many over which you have no control infuence your options for getting the guitar into the PA system, producing sufcient volume, delivering tone faithful to the instrument, and avoiding feedback. Your ability to efectively mic an acoustic guitar on stage is dependent on the stage volume of the musician(s); the volume of the audience; the acoustic guitar players preferred method of monitoring; the type of guitar (steel or nylon string) and your budget. Its a Beautiful World The best situation you could possibly hope for is a solo guitar player on a small stage, with an audience that is there to actually listen to and respect the artist. Think Kazuhito Yamashita at Alice Tully Hall. A situation like that allows you to actually use microphone technique to reproduce the sound of the guitar in the PA. Id start with a single small-diaphragm cardioid condenser microphone such as a Shure SM81, Neumann KM 184, Audix SCX or DPA 2011, six to 10 inches away, pointing at the 12th fret or where the neck meets the body. Use a shock mount so that the mic does not pick up any vibration transmitted through the foor. The sound hole is generally going to produce a lot of boom, so try to stay away from that area, unless youre using a mic designed to be clipped into the sound hole. An alternative placement would be facing the mic directly at the top of the soundboard between the bridge and the end pin, but youll have to use your ears because some guitars sound thin when miked from this area. You can angle the mic slightly upward so that the rear (where rejection is maximum) is facing a foor wedge, if any. Ideally your guitar player either does not need a monitor or uses in-ears, either of which tremendously cuts down on the possibility for feedback. Oh yeah, and hopefully the player remains relatively still and stays on mic. Real World Realities As volume requirements increase, your options decrease. Take for example a singer-songwriter performing in a small club, restaurant or cofee house where people are paying attention not so much. You may still be able to use a microphone to capture the guitar, but oddly enough, a microphone with a limited response and sensitivity may produce better results. The microphones previously mentioned are all very sensitive; that sensitivity extends to capturing room noise and spill from other instruments on stage. A Shure SM57 (or other dynamic mic such as an Audix i5) can be more efective in such a situation because it may capture less bleed and be less prone to feedback from a wedge monitor. Some cofee house performers place their PA behind them so they can hear the same mix as the audience (thus violating a prime directive of live sound) and avoid the need for monitors. While I wouldnt say this is wrong (on second thought, I might say this is wrong), it certainly is begging for feedback. If you have to work within those parameters, keep the mic close to the guitar and try to use the guitarists body as a barrier between the PA speakers and the microphone. A sound hole cover can be very helpful in avoiding

feedback in such situations, but it could also diminish the timbre of the instrument. Good luck. Notice that we have not mentioned use of multiple microphones. Multi-miking an acoustic guitar may work in the studio, but I suggest avoiding it on stage. Every additional microphone greatly increases chances for feedback, spill and increase possibilities for phase issues (which in turn also increase likelihood of feedback). Stick with one microphone.
n here two Se nheiser MKH 80 50s are put to

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Practice Your Pickup Lines Its an unfortunate fact of life that most live situations involving an acoustic guitar will require a pickup. Unfortunate because although pickups solve some of the issues at hand many of them do not sound natural. Well leave most of the which pickup should I use? debate for the guitar forums and get to the nuts and bolts. The basic types of pickups include the under-saddle transducer (UST), magnetic sound hole pickup and surface mount pickup. Luckily for sound engineers, there is an entire industry of acoustic guitar pickups with clever designs coming from many manufacturers. One example is the Fishman Ellipse Matrix Blend, a hybrid device combining a sound hole microphone with a UST. A preamp installed in the guitar provides the player with the ability to blend the two sounds, and the engineer takes a standard -inch TS feed from the output jack. As an engineer, you need to pay attention to the type of pickup that is being used and not just slap a DI on the output of the guitar. Piezo transducers are very sensitive to loading, so youll need a DI with very high input impedance. As an example, the PZ-DI from Radial Engineering provides adjustable loading for use specifcally with magnetic or piezo pickups resulting in a more natural sound. The Para DI from L.R. Baggs is intended for use with acoustic guitars pickups and features a fve-band EQ with a tunable notch flter for correcting feedback. Some guitar players may use a stage amplifer tailored for acoustic guitar, in which case you can try miking the amp. YMMV. Processing Compression on an acoustic guitar is very helpful for the front of house mix but is a no-no in monitor wedges because it makes controlling feedback very difcult. When the guitarist is

playing, the compressor holds the gain down. When the guitar player stops, the compressor lets go and gain comes up often resulting in feedback. Its imperative that you separate the acoustic guitar feed to monitors and front of house. If you have a mic splitter feeding separate monitor and house consoles, this is easy: each engineer receives their own signal, processing it as they see ft. In cases where you are doing monitors from the front of house position, this can get sticky. You need to be aware of the signal fow from a channel to the aux sends. You want to take the aux send to monitor(s) after the EQ but before the insert. Most digital consoles allow you to switch this routing via software but hardware consoles may not (or you may have to get under the hood and adjust internal jumpers). If the channel insert comes before the aux sends, then inserting a compressor will afect the signal going to the aux (monitor) sends as well as the L/R house mix. If you can tap the monitor send before the insert, then you can compress in the house mix to your hearts content without worrying that the compression will promote feedback in the monitors. Youll have to check the manual and perhaps trace a block diagram. Generally the same may be said of EQ. The best scenario is separate desks (and therefore EQ) for monitors and house, in which case the monitor engineer can EQ to tame feedback while the house engineer EQs for taste. In any case, the High Pass flter is your best friend when amplifying acoustic guitar. Bring the channel up in the mix (whether it be house or monitors) and engage the HPF. Sweep the flter frequency up until you hear the sound start to thin then back it down a hair. Theres no point in amplifying low-end muck that doesnt contribute to the tone of the guitar but may cause feedback or amplify mechanically transmitted sound. A

sweepable midBy SteveLaCerra range EQ can be very helpful in correcting feedback. If you start to hear feedback, slowly bring the midrange EQ gain control up a few dB and then sweep the frequency selector until the feedback begins to get worse. Then dial the gain back into negative territory. Dont be scared if the EQ display on a digital desk looks like you hacked the channel to pieces. Use your ears to make the adjustments, not your eyes. When blending a pickup and a microphone on separate channels, check the phase relationship between the two. Sometimes it might actually help if the channels are out of phase because this could result in a lower-midrange notch that reduces feedback just make sure that you are not killing the overall tone of the instrument. A bit of cut in the vicinity of 1 kHz to 2 kHz on the pickup channel can tame that plastic-y direct sound, while a touch of reverb can open it up a bit so that the audience doesnt feel like they have their ear on the soundboard. Use a relatively short decay (1 to 2 seconds) and high-pass or use a low-shelf cut on the reverb to maintain clarity. One last word about microphones: mics with the same pickup pattern are not created equal. Some provide higher rejection of of-axis sounds, meaning two things: 1) they reduce the amount of leakage from sounds of to the side and 2) they are less forgiving if your talent is moving around. This is equally important for vocal microphones, because leakage of the guitar into the vocal mic can cause phase issues and in severe cases result in fanging. All of the issues weve discussed take time to resolve, so make room in the schedule for a proper sound check. A little bit of fne-tuning will yield high dividends come showtime. Steve Woody La Cerra is the tour manager and front of house engineer for Blue yster Cult. He can be reached via email at 2013 JANUARY



Budgeting/Planning for H.O.W. Upgrades

s individuals, most of us By JamieRio have made a list of resolutions for the New Year. At the same time, many houses of worship have also resolved to upgrade, replace or re-invent their sound systems. There is no doubt that January is a great month for these plans. Actually, any month would be fne, but I get more calls in the frst month of the year from churches that want to make changes to their sound systems than any other month. So, January is usually a great month for me. The Assumption Okay, lets assume your house of worship is planning on improving the sound that serves your congregation. Of course, the frst question to consider is, how will you go about your endeavor? There are a few schools of thought here. Initially, you would call someone (like myself ) who is a professional at designing and installing house of worship sound systems. The obvious advantage to calling in a professional is that they should know everything about audio that you dont. In other words, they will have the experience necessary to evaluate your current sound system and advise you on how to improve your system or replace it. Also, a good installation company can advise you in how to improve acoustic problems your sanctuary may have and also ofer recommendations on improving your stage lighting system. The other school of thought is that you (or a group in your church) will make all audio decisions and do all installation work using volunteers from the congregation. This idea can work if you have some audio

experts (or at least enthusiast) to choose from, as long as theres a realization that pros might be required at some stage, such as rigging. A Typical Situation A scenario I run into fairly regularly is a combination of both ideas. The church leaders call in an expert and then use qualifed people from the congregation to install the new sound gear. For example, I have designed a new sound system for a house of worship near me. I have also acted as the buyer for the equipment. However, the church is using their people to build a new stage, a mixer location and do all electrical upgrades. I will also use their labor to install the new system. The advantages are that the house gets a pro to design the sound and money is saved on the installation. Now that you have decided on a new project, how much should your new (or upgraded) system cost? This is really the biggest question you will face. Too often, congregations decide what their budget will be before they have any real idea of what kind of sound system or upgrades they will need. Simply arriving at a budget because you or the leaders of your church have decided on an amount of money they want to spend is not a very good strategy. Ideally, you should get some solid bids from a couple of sound installation companies and use those bids to decide if you have the funds, or will be able to procure the funds to go forward with your project. There is one thing to consider before you dive into your new sound system. Is the upgrade required in your sound system, or in the environment that your system operates in? In other words, what are the acoustics like in your sanctuary? I have walked into churches that

This formula may seem very simple, but the numbers do work. I currently am working with a house of worship in Whittier, CA, and they will have saved for their new system by March of 2013 simply by asking for $1 per week from each of their members. Of course, there are many other ways of fnancing sound for your church. In my home church, the money for the A 200-member congregation that original sound increases its giving by $2 per week system was docould pay for a $20,000 sound sys- nated by one person, whereas tem in a year. the next sound system was fnanced by a combination of additional giving and a variety of yard sales. (Not to mention a lot of The Money Part Moving forward, lets assume you have prayers.) Whatever means you use to raise some written bids in your hand. Those bids money, the formula I gave you is just a tool will make it much easier to budget out the to look at what a new (or improved) sound project. So, now that you have your cost, the system will really cost your church over time. That said, I cant stress enough how next question is usually, how will you pay for it? I am going to give you a formula that I use important it is to get some solid numbers with clients to fgure out what new system before you decide how much you will be will cost over time. All right, lets say your spending on your sound system. You may house of worship seats 200 persons (average) fnd out that it can be much less expensive on a weekly basis. You have decided to spend than you originally thought. Or it may possi$20,000 on your new sound system. $20,000 bly cost more than you ever imagined, but divided by 200 works out to $100 per seat. if you have plan on how to get there, you Now divide that $100 by 50 weeks in a year can eliminate some of that stress that goes (I know there are 52), and you have about $2 along with this type of project. After all, the whole purpose of a sound per seat per week. Now $20,000 may seem like a lot, but is defnitely an attainable goal. system in a house of worship is to commuUsing this formula, a 200-member congrega- nicate the word of God and lift the congretion that increases its giving by $2 per week gation up. If you remember this, the project could pay for a $20,000 sound system in a should be fun. year. If they put up an extra $4 per week, you would pay for your system in six months, and Have a comment? Contact Jamie Rio at jrio@ $8 in three months, etc. think they need new sound but, in fact, they need to improve the acoustics in the room. For some houses, just adding drapes, acoustic panels or other sound-controlling treatments will dramatically improve the overall sound. Once again, this is a good reason to get a professionals opinion before you start planning and budgeting the project.


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Live Industry Books 2013 JANUARY


By BakerLee

Fiscal Cliff Jumping and The New Syntax for Sin Tax
ment with the bank for $1.9 billion. The incident raises many resounding questions, but will that lump sum go to the defcit, or is this just making a new vernacular for a Sin Tax? An Idea from the Music Industry From my experience, it seems that when faced with dire situations, the American public is more than willing to open up its pocketbooks and give to people in need. Benefts for relief from disaster, hunger and an abundance of injustices worldwide are put on by top stars raising money, providing jobs and giving the contributing public something in return for their hard-earned donations. Examples such as the Concert for Bangladesh, Live Aid and Farm Aid and now the Beneft for Hurricane Sandy provide proof that this is a successful formula for raising money. Harvey Weinstein, one of the co-producers of the Hurricane Sandy Beneft said that the Concert for New York, which benefted the victims of 911, raised $65 million. That wasnt one tenth of what weve put together today in terms of distribution, said Weinstein. Even though production costs can cut into revenue, Weinstein says, Corporate sponsorship will cover every penny of it. Thats right, even the corporations will dip into their meager savings and cover production costs in exchange for a little good vibe PR. There you have it! Individuals and corporations will happily give up the cash, and all they want is a little something in return. Therefore, if our leaders were smart, they would jump on the bandwagon and set up a plethora of concerts with catchy names. Cute and catchy names always help raise bundles of cash. For example, call the program Beneft for the Defcit. Then, while they are at it, they should completely legalize marijuana in all 50 states and charge a tax for the defcit which would not only raise money, but will help deplete the overcrowding of jails, thus saving the government even more in unnecessary spending. Call it Smoke the Defcit. Make the oil companies pay a dime to the defcit for every gallon of gas pumped in the United States. Call that Pump the Defcit. Taxing legalized prostitution could result in the F**k the Defcit program. That should raise some quick cash. Lastly, have a national lottery where every citizen of legal age can partake in the Bet the Defcit program. Make the payout a fat $5 million with the rest going to the national debt. The best thing to do would be to take the legalized marijuana, gambling and prostitution and bundle it with a huge concert and call it Party for the Defcit. That should generate a bit of quick cash and, even though many people might repudiate the idea based upon moral and religious factors, I would venture to say that if its money we are trying to raise, we already have a successful working model based upon the aforementioned ideas: Its called Las Vegas. Regardless of what name we attach to this program, its a proven fact that most Americans will part with their money for a good cause or quality services in return for their outlay and its time that the geniuses in Washington get over their dour, old-fashioned 20th century ideas of raising revenue and get with the new 21st century program. Talk about a new vernacular for Sin Tax! Welcome to 2013. Contact Baker Lee at blee@
IllustratIon by andy au

here are very few days that we work less than a ten-hour day, and thats on a good day. From load-in to load-out, were lucky if the clock stops ticking at the tenhour mark, and even if it does, we still have to take into account all the time spent just traveling from one place to the other. Time is money and as I see it, we manage to spend more time than the money we make. Im not complaining. Im just stating a fact, because by the time this piece is published, we may all be lying at the bottom of the fscal clif clutching our empty wallets due to expired tax cuts. Either that, or our elected leaders will have averted the long plunge, thereby saving most of the country from the pain of spending cuts and a tax increase. In case of the latter, the top 0.9 percent of the country those individuals earning $400,000 and families earning $450,000 and up would be subjected to the heftiest tax increase, with the rest of us feeling the pinch mostly in the form of the expiration of a 2 percent Social Security payroll tax cut.

The Same Old Story While it may seem that the national debt is a new issue, its in fact an old story. Since the Constitution went into efect in 1789, the United States has held a public debt, which has historically increased after each war starting with the Revolutionary War. Recession, which amazingly coincides with war, is another reason for increased national debt. During the Great Depression, due a decrease in tax revenue and the enactment of all the social programs, the national debt rose again. By the end of 1945, due to the war efort, the national debt had risen to 112 percent of the Gross Domestic Product (GDP). The ratio between the GDP and the national debt is significant, as a low debt to GDP ratio is indicative of a productive economy that can produce and sell its products and services for profts high enough to pay back the debt. Of course, the GDP cannot all be used to pay back the debt, and usually only 5 percent to 10 percent of the GDP is used for debt repayment. At this time in our history, the United States is not

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only coming out of a recession (which makes for a low GDP), but we, as a nation, have also spent the last ten years fnancing two wars. Understandably, the bill needs to be paid, and both political parties have come to the table with various ideas in an efort to resolve our problematic debt. After keeping track of the political, economic and social issues brought up by both sides, I have come to the conclusion that neither side is truly thinking in a creative manner in order to resolve our issue of debt. So far, both political parties have presented what seems like tried and true ways of raising revenue, with both sides presenting their version of fscal responsibility by promoting such novel ideas as doing away with certain tax deductions, raising the income tax for the wealthy and across the board spending cuts. While all these plans have some degree of merit, most of them sound like punitive measures to a taxpaying public. After all, the less fortunate of the population really cannot aford to part with any of their income, and those at the opposite end of the spectrum dont want to shoulder the burden for those that cannot contribute. Its a quandary, but for rich, poor or somewhere in between, tax is like a dirty word and, as much as the need for revenue is understood, I still dont look forward to an increased levy against my income. Similar to most people, I dislike giving away large chunks of my earnings especially when I am told that it is not enough. Indeed, if I were required to do so, then I would prefer to get an itemized receipt with the transaction so I can have a true perspective of what I have really funded. Each paycheck I receive itemizes my withholdings as such: federal withholding; Social Security; Medicare; disability and state tax. As long our elected ofcials arent using all the social security and Medicare withholdings to pay the national debt, then I more or less know

what I am paying for when I see those itemized costs. Disability is fairly self explanatory, but when I get to the federal and state tax line items, there is no elucidation as to where my money is allocated and other than going online to get pie charts of a general tax breakdown I am left to assume and wonder. Apparently, the two factions of the same party that are in charge of fguring out how to be a viable and healthy country cannot break away from the same old mold that has dominated conversations for the past hundred years or so and we, the general public, are the ones to pay for the bumbling, bloviating adherence to tradition. Statistics are touted, pie charts and graphs, which always make for nice striking images, are analyzed and dissected by the many diferent gloom and doom experts, and yet if the social programs are cut and taxes go up (or vice-versa), we dont get ahead, and the country still marches to the drum of big business. Gimme (Corporate Tax) Shelter Speaking of taxes and big business, the New York Daily News ran a small item about how Google cut its tax bill in half and, in the process, saved about $2 billion. It seems they sent 80 percent of their 2011 pretax proft (or $9.8 billion) to Bermuda, because Bermuda has no corporate income tax. Apparently this is all legal, but this type of corporate tax sheltering which has been going on for years allows Google to pay a mere 3.2 percent on overseas profts. So whats new? Sleazy, yes; illegal, no and they are not the only large conglomerate to incorporate this maneuver. So whats a poor country to do? The huge banking concern HSBC has just been accused of laundering money for Mexican drug cartels as well as conducting prohibited transactions for countries such as Sudan and Iran. There are no indictments, but the Federal and State governments have made a settle-

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