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Vol. 11.

08

FrontoFHouse
www.fohonline.com www.proaudiospace.com

May 2013

FOH Publisher Acquires MMR, SBO, JAZZed and Choral Director Gibson Amphitheatre Announces Plan to Close in September Crew Member Dies after Fall at AT&T Center in San Antonio, TX

22

Show Report

Prolight + Sound
Hot Live Sound Products Debut in Frankfurt

34

Production Profile

44

Tech Preview
SSL Enters Live Sound Market

Mixing FOH and Monitors for Packed Arena Shows


cover photo coUrteSY of moment factorY

inside this month

46
Tips & Tricks
Live Strings for the rush tour

48
The Biz
Weather and other touring Dangers

50
Sound Sanctuary
tech advice for h.o.W. volunteers

From L-ACOUSTICS, comes the classic KIVA Modular Line Source accompanied by the brand new SB15m LF extension. KIVA boasts an impressive track record of performances in classical music, special events and theatres, consistently delivering clear, precise and incredibly intelligible sound. Credentials include long throw capability, extensive vertical coverage capable of matching any audience geometry and smooth and controlled horizontal directivity pattern. As for its new SB15m companion subwoofer, nicknamed the bass, it brings in the rock with its extended operating bandwidth which stretches KIVAs response to 40Hz and an LF impact that brings down the house. A must-hear in 2013. More at www.l-acoustics.com

Talk is Cheap.
From the makers of the worlds most rider-friendly digital mixers, Yamahas newest addition, the CL Series, comes from a strong heritage of touring consoles. Featuring the same output structure of the legendary PM5D with even more inputs along with phenomenal sound quality, the CL Series is a wise business investment for more reasons than we can list. But we dont expect you to take our word. We expect to give it to you. Heres how. For a limited time, take the CL5 for a 72 hour test drive from one of our participating dealers, free of charge. * A complete demo system including: A CL5 with 2 Rio3224-D I/O units in a stage rack and a 150 snake are yours to borrow for any gig youd like for 72 hours. Thats a very capable 72 input + 35 output system. Take it for a test drive and experience for yourself why the CL Series is worthy of your praise.**

For more information, visit www.yamahaca.com/cltestdrive


Participating Dealers:
U.S.A. Arizona Engineering & Recording, Inc. Phoenix California Hi-Tech Audio Burlingame Hollywood Sound Systems Hollywood Muzeek World San Juan Capistrano Colorado Richter Scale Productions Denver Florida Focused Technology Sarasota Georgia Peachstate Audio Suwanee Illinois TC Furlong, Inc. Lake Forest Kansas Digital Sound Systems, Inc. Overland Park Massachusetts ATC Audio West Springfield Pro Sound Service Inc. Braintree New York AVS Production Group Bronx Texas JPK Corp. ProAudio.com Grand Prairie Wisconsin Full Compass Systems Madison Canada Alberta Allstar Show Industries Edmonton Sound Art Winnipeg Nova Scotia Sound Systems Plus, Inc. Halifax Ontario Wall Sound, Inc. Ottawa Quebec LAudio-C Sonorisation Inc. Trois Rivieres Solotech, Inc. Montreal

Ohio Eighth Day Sound Highland Heights Maryland Washington Professional Systems Wheaton Oregon AGI, Inc. Eugene Michigan Thunder Audio, Inc. Livonia Pennsylvania Philadelphia Sound Productions, Inc. Minnesota Philadelphia Reach Communications Brooklyn Park South Carolina Missouri Audio Communications Systems, Inc. Cignal Systems St. Louis Columbia Sounds Great Springfield Paragon Productions, Inc. Rock Hill Mississippi Tennessee Millennium Music Center Hattiesburg CTS Audio Brentwood North Carolina Memphis Audio Memphis Draughon Brothers, Inc. Fayetteville Spectrum Sound, Inc. Nashville SE Systems, Inc. Greensboro World Class Acoustical Visual Elements (WAVE) Charlotte

*Dealer may require deposit, shipping charges, etc. **Offer valid in the U.S. and Canada only. Promotion expires on June 30th, 2013.

Yamaha Commercial Audio Systems, Inc. P . O. Box 6600, Buena Park, CA 90620-6600 2013 Yamaha Commercial Audio Systems, Inc.

2013

MAY

CONTENTS
Columns
47 On the Digital Edge
David Morgan continues his discussion on using near-feld studio speakers in certain sound reinforcement applications and uncovers some real-world solutions.

Vol. 11.08

fohonline.com

Features
22 Show Report
More than 113,000 industry pros made the trek to Frankfurt for Musikmesse / Prolight+Sound, which offered no shortage of cool new products for sound pros and FOH was there to check out the action.

34 Production Profle: Bon Jovi


Bon Jovis current outing (Because We Can The Tour) has a long string of sold-out arena dates. We chatted with veteran engineers Bill Sheppell (FOH) and Glen Collett (monitors) about mixing one of this years hottest tours.

48 The Biz
Touring (or doing any outdoor concerts) is tough enough without having to face extreme weather and other dangers. Dan Daley offers some practical advice for helping you get through a tough season.

38

BUYerS gUIDe
Todays headworn mics can equal or best many handheld models. Here are 22 for serious pro use.

40 Regional Slants: KiAN Sound


Kevin M. Mitchell checks in on KiAN Concert Sound Services, which recently expanded its inventory with Meyer Sounds new large-format LEO system.

49 Theory & Practice


You might think your job is to mix the band, but more often than not, its pleasing the star. Steve La Cerra looks into products for making sure the money channel gets the royal treatment.

42 Tech Feature: Subwoofer Arrays


Our resident scientist Phil Graham looks at seven real-world examples of subwoofer arrays and uncovers come surprising results.

50 Sound Sanctuary
The Ten Commandments might be essential to the message, but if you work with volunteers at your H.O.W., then Jamie Rios Ten Suggestions for great sound may be exactly what your crew needs to know.

44 Tech Preview: SSL Live


Long a studio standard, SSL unveils Live its frst large-format digital sound reinforcement console, which features 192 I/O paths, fexible routing, powerful automation and onboard effects.

Departments
4 Editors Note

45 Tech Feature: Ear Impressions


Investing in custom in-ear monitors starts with getting earmolds of your ear canal, and heres where making a good impression really counts. Hearing expert Kathy Peck offers this step-by-step guide.

5 Industry News 17 Global News 21 On the Move 32 Showtime

52

FOH-at-large
Few of us have the time to contemplate heady thoughts, so check these tenets for a sound philosophy.
Circulation Stark Services P.O. Box 16147 North Hollywood, CA 91615

46 Tips & Tricks: Live Strings for Rush


Prog-rockers Rush decided to add a live string section into its current tour, leaving FOH mixer Brad Madix with a real dilemma. Heres his solution.

Business, Editorial & Advertising Ofce 6000 South Eastern Ave. Suite 14J Las Vegas, NV 89119 Ph: 702.932.5585 Fax: 702.554.5340

Front Of House (ISSN 1549-831X) Volume 11 Number 8 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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Its That Season Again


After the Speeches Fade Once the reverb tails of clichd speeches about the uncharted sea of opportunities before you begin to fade, the business side of the sound season really kicks in with street fairs, July 4th pageants, county and state fairs, outdoor festivals, theme parks, races, rodeos, baseball games and every kind of event imaginable. And they all need sound. Also, this downtime period, with schools being shut down for a few months, offers a convenient time to get in and do installations and systems upgrades. Back to School Speaking of schools, next months InfoComm show (June 8 to 14 2013; infocommshow.org) in Orlando affords an excellent opportunity to take a few days away from your lucrative sound season activities and improve your knowledge base and industry skillset. In addition to its huge expo of the latest technologies for audiovisual (especially audio, for us) gear, InfoComm offers a wide variety of programs and seminars for getting current with the constantly changing standards and practices of modern production. InfoComm hosts a number of multiday classes on topics such as Networking Technology and preparation for CTS (Certified Technology Specialist) certification, but perhaps some of the shorter programs are a bit easier to fit into your hectic show schedule. A plethora of Super Tuesday single-day sessions on June 11 (the day before exhibits open) focus on real-world solutions and tech trends. These include relevant, timely themes such as Fiber Optics for the ProAV Market and Peter Putnams Wireless Trends. Other short-format programs of interest for live sound pros to check out are Andre LeJeunes Power Distribution for Live Events, Syn Aud Cons Sound Reinforcement for Technicians and Principles of Live Sound Mixing presented by legendary FOH engineer Buford Jones. Knowledge Sharing The complexity of todays sound reinforcement systems presents a sizeable barrier to anyone who casually wants to drop into this industry and start mixing. (For some reason, no one ever seems attracted to the idea of starting out by coiling/cleaning/untangling cables or stacking bass bins.) And with this complexity, its less likely that sound company operators have a lot of extra time on their hands to train people or bring in apprentices. So having some education or training is essential to anyone trying to break into the pro side of the biz. At the same time, sound techs in the house of worship market may be working with volunteers (of various skill levels) and need to provide training or guidelines for them. In this months Sound Sanctuary (pg. 50) Jamie Rio of-

By GeorgePetersen

very season has its distinct harbingers or signs of change. Most of us are familiar with the multihued colors of fall leaves, the first snowfall of winter (except in Las Vegas), the flowers of spring and the sizzling heat of summer barbeques. Equally important if not more so is the arrival of the sound season, which traditionally kicks off with school graduations. Maybe its just because I live in an area populated with a lot of people, schools and colleges (San Francisco), but I can definitely recall years of hell weeks as local sound companies would try to juggle covering 25 or so overlapping graduation ceremonies over a few days. These are certainly not the most exciting gigs to mix they rank right up there with political speeches, cardiology conventions and city council meetings but are definitely on the schedule of nearly every local sound company. And although anything but glamorous, these bread and butter things do help pay the bills and rarely have clients complaining about the monitor mix.

Catch Georges commentary at fohonline.com/foh-tv, or click on the picture from your digital edition.

fers advice and some basics every H.O.W. volunteer should know. Its a must-read. But knowledge comes from all kinds of sources. Recently our ProAudioSpace. com forum had a lively discussion about topics like XLR shell wiring and limits on how loud a show should be. And our resident scientist Phil Graham, writing about subwoofer placement in this issue (pg. 42) definitely opened my eyes with some interesting approaches to LF arrays. Dont miss it. And theres a lot more in this months FRONT of HOUSE, whether backstage at the Bon Jovi tour (pg. 34), on the show floor of Musikmesse/Prolight+Sound (pg. 22) or delving into the nuances or Solid State Logics first console for live sound (pg. 44). Check it out! Email FRONT of HOUSE editor George Petersen at george@timelesscom.com.

Greater than the sum of its parts

President Group Publisher Entertaintment Division Vice President Editor Managing Editor Art Director

Terry Lowe tlowe@timelesscom.com Greg Gallardo gregg@timelesscom.com William Hamilton Vanyo wvanyo@timelesscom.com George Petersen george@ timelesscom.com Frank Hammel fh@timelesscom.com Garret Petrov gpetrov@timelesscom.com Mike Street mstreet@timelesscom.com Kevin M. Mitchell kmitchell@timelesscom.com Phil Graham pgraham@timelesscom.com Dan Daley, Steve Jennings, Steve LaCerra, Baker Lee, David Morgan, Jamie Rio Josh Harris jharris@ timelesscom.com Matt Huber mh@timelesscom.com Mike Devine md@timelesscom.com Erin Schroeder erin@timelesscom.com

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MAY 2013 fohonline.com

SOLOTECH EXPANDS

BACK IN BUSINESS

Now in Halifax and Vancouver, Page 6

Fukushima Center Reopens, Page 18

INDUSTRY & GLOBALNEWS


The tour supports Rihannas album, Unapologetic

NEWS
FRONT of HOUSE Publisher Acquires the Assets of Symphony Publishing

Eighth Day Sound Supports Rihannas Diamonds World Tour

LOS ANGELES For Rihannas Diamonds world tour, which is traveling through the U.S. and Canada from March through May 2013 before heading overseas, Eighth Kyle Hamilton at FOH Day Sound provided a d&b audiotechnik PA along with a pair of DiGiCo SD7 consoles manned by Kyle Hamilton at FOH and Ed Ehrbar on monitors. Last October, the group undertook an intense promotional tour (7-7-7) hitting seven countries in seven days for seven shows. Eighth Day supplied four complete control systems two in Europe; one in the U.S. and another in Mexico City so the engineers could simply walk in and mix. Although Ehrbar was

Ed Ehrbar at monitors working on an SD7 for the whirlwind week, Hamilton had to make do withanother digital desk and was happy to be back on the SD7. When I was frst introduced to DiGiCo, I was using a D5 on Mary J Blige and Lionel Richie. Then the SD7 came out, I used it with Lionel Richie, Janet Jackson, Prince and now Rihanna, said Hamilton. The SD7 just feels right. Its the digital desk that feels analog to me; it sounds warm. I like the fact that the SD7 is transparent. What you put in is what you get out of it. Also, this console has tons of headroom. Each SD7 is in an Optocore fber loop with two DiGiCo SD192kHz racks along with one mini SD rack to wrangle the mass of over 96 inputs for the four-piece band and backup singers. The majority of the inputs were taken up by three drum kits, two keyboard rigs and 24 channels of Pro Tools.

Gibson Amphitheatre to Close in September


LOS ANGELES The 6,000-plus capacity Gibson Amphitheatre, which opened as an outdoor venue within Universal City in 1972 before being enclosed in 1982, is set to close as its lease expires in September. Universal Studios is undergoing a major remodeling and will use the site for a Harry Potter-themed ride, according to reports. Since it opened, the Gibson has hosted productions ranging from musicals to concerts and seasonal radio station shows. A long roster of top rock, pop and Latin artists, from Pitbull and Mary J. Blige to Bob Dylan, Madonna, Fleetwood Mac and David Bowie, have performed there, and fve U.S. presidents have also spoken from its stage, including Barack Obama. We, like music lovers across Los Angeles, will miss Gibson Amphitheatre, said Live Nation spokesman Bret Gallagher, praising the venues uniquely intimate setting that has made it a very special place for fans and artists alike. Live Nation pledged that ticket-holders to shows scheduled for the venue after Sept. 2013 will be eligible for full refunds if those shows cannot be relocated. Other medium-sized venues in the vicinity include the 5,700-capacity Greek Theatre, the 4,000-capacity Hollywood Palladium and the 7,100-capacity Nokia Theatre at LA Live.

LAS VEGAS Timeless Communications Corp. (TCC), publisher of FRONT of HOUSE,PLSN and Stage Directions magazines, announced April 30 that it had acquired the assets of Symphony Publishing. Efective May 1, 2013, Timeless has assumed the role as publisher of Musical Merchandise Review (MMR), School Band & Orchestra (SBO), JAZZed and Choral Director magazines. Were excited to receive the stewardship of four exceptional magazines, said TCC president/founder Terry Lowe. Its a perfect ft. Lowe is a lifelong veteran of the publishing industry. He founded PLSN in 1999, launched FOH in 2001, and purchased Stage Directions in 2007. Prior to the acquisition, Timeless Communications titles had a combined circulation of 60,000 subscribers, of which 6,500 are in 120 countries outside of North America. With the addition of the Symphony titles, TCC will have over 100,000 professionals in music and event production subscribing to its seven magazines. All of these titles, along with the current TCC magazines, have a full complement of digital media products associated with them. Each magazine has its own website, email newsletter and digital edition, and all are accessible on all mobile devices. TCC will be enhancing all of the newly acquired titles with a redesign within the next 12 months, along with a revitalization of the infrastructure of digital transmissions to provide subscribers with more options and ease of use. Lowe is also co-founder and executive producer of the Parnelli Awards (parnelliawards.com), which is in its 13th year of honoring live event professionals. This years awards ceremony will take place at the Mirage Resort and Casino in Las Vegas on Nov. 23, 2013. For more information about the Parnellis, go to parnelliawards.com.

fohonline.com 2013 MAY

INDUSTRYNEWS
Boston Area Events Canceled After Bombing; Boston Strong Beneft Set for May 30
BOSTON A beneft concert to raise funds for Boston Marathon bombing victims has been set for the TD Garden Arena here May 30. Performers will include Aerosmith, NKOTB, James Taylor, Jason Aldean, Jimmy Bufett, Carole King, Boston and J. Geils Band, according to TD Garden and Live Nation New England. Boston is a city with strong roots, and homegrown artists reached out to us to see what could be done, said Don Law, president of Live Nation New England. We are proud to help solidify this huge concert line-up. Boston Strong: An Evening of Support and Celebration, with tickets priced at $35-$285, will raise funds for The One Fund (onefundboston.org), which was established by Bostons mayor and Massachusetts governor shortly after the bombings. From the promoters to the sound and
lights, to the performers and the Garden staf everyone involved has responded from the heart in a spontaneous and simultaneous desire to be there, and to do what we can for the city we love, said James Taylor. I am honored to be a part of it. An earlier concert beneft, We (Heart) Boston, had been set to raise funds for The One Fund as well. Set to take place at the Royale Boston on April 19, it had to be canceled; that was the day of the Boston lockdown, manhunt and shootout with the bombing suspects. We (Heart) Boston was just one of numerous concert, theatre and sports events that were canceled, frst on April 15, the day of the bombings, then again on April 19 as the citys manhunt intensifed and the two bombing suspects were killed and captured. That lockdown included a shutdown of virtually all municipal and regional mass transit.

Crew Member Dies After Fall in San Antonios AT&T Center


SAN ANTONIO Thomas Dean Williams, 44, died April 5 after falling between 70 and 100 feet, according to local news reports. Williams was working on the venues concert lighting rig at the time and fell to the stage, where others were working. No other injuries were reported. The accident happened about 2 am Friday after a Romeo Santos concert at the venue Thursday night. Paul Berry, spokesman for the Bexar County Sherifs Ofce, told local news media that while Williams had been wearing a safety harness at the time, he had temporarily disconnected it and was attempting to reconnect the harness when he slipped and fell from a center beam. Williams had been hired as a contract worker by Live Nation, according to reports. OSHA inspectors visited the facility. Although the accident is still under investigation, a San Antonio Rampage hockey game scheduled for later on April 5 was allowed to proceed as planned.

From left, Eric Bourgeois, Bill Lawlor, Denis Lefrancois, Larry Medwin and Brian Konechny

Solotech Expands with New Offces in Vancouver and Halifax


VANCOUVER, BC and HALIFAX, NS, Canada Montreal-based Solotech announced new sales and integration ofces in Vancouver and Halifax on May 1. More information, including contact details, is now online at solotech.com/Vancouver and solotech. com/Halifax. The Vancouver ofce will be led by Brian Konechny, formerly with Epic Production Technologies, and Larry Medwin, also formerly with Epic, who will handle sales and integration. Eric Bourgeois and Bill Lawlor will run the Halifax ofce. Solotech also added Rob Lanthier to its Ottawa ofce staf.

Free White Paper on Power and Grounding


BLUE BELL, PA SurgeX International, a manufacturer of AC power distribution and protection products, announced the availability of a new white paper, Power and Grounding for Audio and Video Systems: A White Paper for the Real World International Edition. Its ofered as a free download from surgexinternational.com. Authored by Jim Brown of Chicagos Audio Systems Group, Inc., the 43-page document was commissioned by SurgeX as a core guide on the proper implementation of 120/230-VAC power platforms with correct connection, distribution and grounding practices. The implementation of proper AC power and grounding practices for integrated systems is commonly overlooked, said Andy Benton of SurgeX. Brown added, Im very pleased that SurgeX saw a need for a global AC power and grounding white paper. This demonstrates their commitment to the industry well beyond simply selling power protection and will ultimately help customers design trouble-free AC power platforms for complex integrated systems.

INDUSTRYNEWS

3G owner/president Eli Stearns (in white shirt) and staf

LAS VEGAS and LOS ANGELES 3G Productions Inc. recently acquired a Martin Audio MLA system to provide greater sound control at electronic dance music festivals and expand the companys touring capabilities. Founded by Eli Stearns and Jay Curiel in 2004, 3Gs corporate clientele includes a vast array of Fortune 100 companies, as well as close relationships with Las Vegas hotel and casino groups. The company also specializes in touring and events such as the Beyond Wonderland Festival for Insomniac at San Bernardinos San Manuel Amphitheater, which served as the MLA systems test drive. Response to the system was uniformly positive in terms of coverage, loudness, accuracy and control, so 3G decided to initially acquire 32 MLA, four MLD downflls, 24 MLX subs and 24 MLA Compact enclosures. For 3G, an intrinsic part of MLAs appeal was based on its ability to control SPLs at festivals

3G Productions Acquires MLA System


where noise is becoming an issue within the cities and communities where the events are held. After MLAs trial run at the festival, Curiel said, The system was surprisingly easy to set up and our engineers were really happy with the way MLA performed. It did everything its supposed to do, especially in terms of controlling the sound. We were able to easily manage the SPL levels and cut of the coverage where we wanted while providing all the power and impact the audience expects. MLA passed with fying colors. Stearns added, Were excited to be a partner in the prestigious MLA Network, which includes so many leading audio companies. Its great to be part of the next wave of innovation and technology, especially in terms of controlling SPL. Our primary application for MLA will be festivals and special events in city environments, but we expect the system to grow our touring market as well.

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NEW YORK Clair Brothers Audio Systems installed a comprehensive sound reinforcement system within The Theater at Madison Square Garden, a 2,000-to-5,600 capacity venue within the larger MSG complex that is used for concerts, stage shows, meetings and graduation ceremonies. The sound system centers on Harmans JBL VTX line arrays powered by Crown Audio I-Tech HD amplifers. The Theater at Madison Square Garden is a world-class venue and nothing less than a world-class sound reinforcement system would be appropriate, said Jim Devenney, senior engineer for Clair Brothers Audio Systems. Tom Arrigoni, Russell Lynn and Tim Parsaca from the Gardens production staf, provided critical design and logistical support. The main loudspeaker system consists of

The Theater at Madison Square Garden Upgrades Audio System


left and right fown clusters of nine JBL VTX V25 full-size line array elements each, along with two hangs of four S28 subwoofers each. The center-fll cluster has six VerTec VT4887A compact line array elements. To cover the rear third of the venues seating, Clair deployed two delay rings the frst ring has 16 biamped JBL AM7212/66 loudspeakers and the second delay ring having 14 AC28/95 speakers. In addition, eight JBL AM5212s cover the side box seats. All system amplifcation and speaker processing is provided by 24 Crown IT 4x3500HD 4-channel amplifers. Two BSS Soundweb London BLU-160 signal processors with digital audio bus and additional I/O cards handle system routing and interface with the fre alarm muting system. The before and after diference in sound quality is phenomenal, Devenney concluded. We knew the VTX and VerTec line arrays would provide better clarity, output and coverage over the previous system, but the level of improvement really needs to be heard to be appreciated. New Harman components include JBL VTX and Crown I-Tech amps.

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INDUSTRYNEWS
LONDON Edwin Shirley, co-founder of Edwin Shirley Trucking (EST Trucking) and the driving force for a variety of other businesses supporting staging, trucking, crew buses, freight forwarding, rehearsal space and film production died April 16 after a battle with cancer. A member of Britains National Youth Theatre (NYT) in 1965, Shirley later shifted from acting/directing to handling lighting tours (and inevitably driving a truck) for Paul McCartney, David Bowie, Ike and Tina Turner and others. By 1974, Edwin Shirley Trucking Ltd. (later known as EST Trucking) was born a trucking company dedicated to the needs of concert touring. In the 1980s, Edwin

In Memoriam: Edwin Shirley, 64


Shirley Staging Ltd. followed, handling stadium tours for McCartney, Queen, Madonna, Michael Jackson, Rolling Stones, Fleetwood Mac among others. More re Edwin Shirley cently, Shirleys staging/logistics company operated as ES Group and in 2011, most of ES Groups assets and employees were acquired and hired by a new entity known as ES Global Solutions (ESG), with trucking assets routed to Transam Trucking Inc. Along with the transformations Shirley brought to Europes trucking, staging and logistics for entertainment industries, his interests included other projects. He established Three Mills Island Studios in a former Bass brewery and erected a stage on Three Mills Green for festivals devoted to salsa, reggae and punk rock. Edwins vision, as well as his risk-taking, was outstanding and unstoppable. It wasnt all about money with Edwin, noted longtime business partner Emma Pascoe. We often gave spaces to theatre companies for rehearsals and shows for free, including lifetime support for his theatrical alma mater, NYT.

The new Margot V. Biermann Athletic Center is using D.A.S. Audio Aero Series 2, Artec, and Arco systems gear.

New System for Hillsdale College Sports Facility


HILLSDALE, MI Hillsdale College, based here, recently opened the Margot V. Biermann Athletic Center, its new 76,000-square-foot athletic facility. AVTek, based in Battle Creek, MI, specified and installed the facilitys sound system, with D.A.S. Audio speakers. In addition to being the new home of tennis, track and athletic programs, the venue will double as a special use facility for events such as speeches, presentations, and graduation ceremonies. The space measures 345 by 205 feet, with a 55-foot ceiling peak. When used for non-athletic events, it has a ca AVTeks Andrew Walker pacity for roughly 4,500 people and required a sound system capable of high levels of speech intelligibility and music reproduction. AVTek outfitted the room with 18 D.A.S. Audio Aero 8A powered, ultra-compact two-way line array modules, four LX-215A powered subwoofers, 24 Arco 24T molded high-impact ABS enclosures, and three Artec 28 two-way passive loudspeakers. The Aero 8A enclosures are positioned using a flown LCR array configuration of six boxes per hang, while the LX215 subwoofers are flown centered between the left-center array and the right-center array. The Artec 28s are flown above the mezzanine level and the Arco 24T loudspeakers are ceiling-mounted to steel joists. Speech intelligibility was a major concern in this building because of all its hard, reflective surfaces and no sound control, said AVTeks Andrew Walker. These speakers articulate very well, with clear, detailed voice reproduction while being very musical with a tight, punchy low end.
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INDUSTRYNEWS
Floridas Parker Playhouse Gets Digital Console
FORT LAUDERDALE, FL In addition to his role as owner of Anton F. Audio Design, Anton Foresta serves as head audio engineer for Parker Playhouse, a 1,168-seat venue operating since 1967. Foresta recently acquired a Soundcraft Si Expression 3 digital mixer for use at Parker Playhouse, as well as other oneof events. Parker Playhouse hosts various productions for the Fort Lauderdale area and needed a digital mixer that would ft its needs. We host everything from a single mic production, like a comedian, to a full band. The Parker Playhouse just recently hosted comedian Jim Breuer, and Alan Parsons before that, said Foresta, who is also a touring FOH engineer
for Arrival The Music of ABBA, Direct From Sweden. Since he began using the Si Expression 3, Foresta has appreciated its performance and unique features. Everything has been solid. I like the I/O, the 32 inputs and 16 outputs. Having a graphic EQ on every single output is an advantage thats unique to this board as well. At this price for a Soundcraft console, nothing compares, Foresta concluded. The preamps on the Expression sound fantastic. Ive used all types of consoles and this is the best-sounding console Ive found in the small-format category.

Anton Foresta with new Soundcraft Si Expression 3 console

LANCASTER, PA For a March tour stop at the American Music Venue here, country artist Gary Allan performed in support of his latest CD, Set You Free. Bauder Audio provided a Nexo GEO S12 line array for the date with support from Bauder systems engineer Tom Hogle and Allans A2, Sean Gary. Jason Spence specified a Yamaha PM5000 console for the entire Gary Allan tour, furnished by Sound Image of Nashville. The sound system included 24 Nexo GEO S12s over eight RS18 Ray Subs, all powered and processed with NXAMP4X4 amplifiers. Besides the fact that the GEO S12 sounds great, its easy to set up, which makes for a quick load-in, said Hogle. Nexo continues to manufacturer studio monitors for large venues! remarked Chris Sully Sullivan after mixing front of house for the show. Although most major tours are supported by digital mixing these days, Yamahas analog PM5000 was still deemed the right choice for the tour, Spence noted. We had options and, in fact, listened to other consoles. However, after listening to the 5K, Gary and the band chose to go analog.

Gary Allan Tour Gets Assist from Bauder Audio and Sound

From left, Bauder Audios Tom Hogle with Chris Sully Sullivan

10

MAY 2013 fohonline.com

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INDUSTRYNEWS
St. Augustines Church Installs New Speakers, Processing
MINSTER, OH Stage Right Productions helped tackle the challenging acoustics within St. Augustines Catholic Church with Communitys Entasys 200 loudspeakers and a dSpec loudspeaker processor. The interior is highly reverberant well suited for its pipe organ and 78-voice choir, yet always a challenge for voice intelligibility. The old sound system put the sound everywhere, said Stage Rights Steve Merrill.The reverb and echoes were terrible and I had to overcome these problems. Merrill had used Communitys original Entasys Column Line Array on another project but was attracted to several versatile models in the newer Entasys 200 family. He chose Entasys 212s for the main church sanctuary and Entasys 203s for the front (chancel) area and the choir loft. A single pair of Entasys 212s would have covered the entire sanctuary, he said, but I put a second pair about halfway back in the church and delayed them with the dSPEC. The sound seems to come from the lector, not the loudspeakers. Now, the sound is great everywhere.The intelligibility is excellent you can even hear

From left, Dave Christenson and David Ellis of Lift, David Croxton of KV2, Steve Palermo of Lift and George Krampera Jr. of KV2.

KV2 Audio Names Lift Distribution as Its Top Rep Firm in Pacifc Region
based here, which distributes products from KV2 Audio in the U.S. and Canada, was named KV2s top distributor in the Asian Pacifc region for 2012. The announcement was made at the KV2 factory near Prague, Czech Republic. Lift Distribution took on the KV2 brand in September 2011 and grew the profle of the brand substantially through 2012 by making systems available for major events and reconnecting with KV2 owners across the U.S. and Canada. Their eforts

KIRKLAND, WA Lift Distribution,

have resulted in a steady stream of mobile and installed system sales throughout the region. When looking for a new distributor in the U.S. and Canada, we really wanted a small, hands on, highly technical company that could promote the benefts of KV2 and specify the range correctly into the right applications, said KV2 director of sales and marketing Dave Croxton. Lift have exceeded our expectations in every way and we look forward to strong growth with them in the future.

Stage Right installed a Community

Entasys 200 system with dSpec.

breath noises! Merrill replaced older lavaliers with new Audio-Technica headworn mics and added new Ashly amplifers to power the Entasys 212s.

12

MAY 2013 fohonline.com

INDUSTRYNEWS

LMG Named Onsite AV Provider at Music City Center


This MCC rendering shows the facilitys curving 175,000-square-foot roof.

NASHVILLE Music City Center (MCC), set for a grand opening May 19-20, 2013, named LMG as its preferred AV supplier. Noting a multi-year contract to support the MCCs AV needs with dedicated onsite staf and equipment, LMG also recently named Curt Wallen accounts manager for the site. The Music City Center features 1.2 million square feet, a 350,000 square foot exhibit

hall, a 57,000 square foot grand ballroom and 18,000 square foot junior ballroom, and about 1,800 parking spaces. It also ofers 90,000 square feet of meeting room space approximately 60 meeting rooms and 32 loading docks that provide ultimate fexibility and ease of loading in and out for convention planners. On track to receive LEED Silver certifca-

tion, the facilitys green features include its curvilinear 175,000-square-foot roof, which is designed to collect rainwater for landscape irrigation and toilet facilities with a 360,000-gallon storage tank. We are thrilled to announce our new relationship with the Music City Center, and believe this unique facility will elevate Nashville as the next great meeting destination, said LMG CEO and president Les Goldberg, citing the companys recent expansion and proximity to the MCC as a boon for AV clients. LMGs new 24,000 square foot Nashville ofce and warehouse, less than fve miles from the Music City Center, opened in Octo-

ber 2012. Goldberg also noted that the LMG Design Studio, which ofers a hands-on environment for clients to brainstorm and discuss creative ideas, while immersed in the latest live entertainment technology, is walking distance from the MCC. Founded by Goldberg in 1984, LMG has three business segments show technology, systems integration, and touring, and ofces in Orlando, Tampa, Las Vegas, Dallas and Nashville. LMG has provided video, audio and lighting support for some of the worlds largest conventions and meetings, nationally televised events and international concert tours.

Audinate Announces New Dante Licensees


WEBSTER, NY & FLORENCE, Italy Two new manufacturer licensees for Audinates Dante networking include Ashly Audio and Powersoft. Built on IT standards, Dante is a complete media networking solution, providing low-latency, tightly-synchronized, sample-accurate playback, while simplifying installation and confguration of A/V networks. Looking to enhance the power and value of its signal processing and amplifer lines, Ashly is excited to be able to ofer our cus NEW YORK Wheel of Fortune productomers yet another option in digital connectivity for our DSP processors and DSP enabled power amplifers, said Ashly Audio president, Mark Wentling. Luca Giorgi, Powersofts pro audio BU manager explains, our plan is to build new products for the newest generation of our Install and Touring rack amplifers. Powersofts frst compatible products integrating Dante will be the new Ottocanali series. Recently launched in its basic version, it will be available in a networkable version this fall.

PRG Supports Wheel of Fortune at Madison Square Garden


ers taped a series of episodes in a week-long shoot earlier this year in Madison Square Garden here. PRG provided more than 230 VUE Audiotechnik i-Class loudspeakers. With more than 1,500 seats to cover, the PRG Audio team, led by Bill Daly, system engineer and designer, extended the sound stage into the seating area with more than 230 VUE i-2x4.5 two-way systems under the chairs throughout eight carefully defned zones. The main PA handled most of the music and sound efects, but the majority of the spoken word came directly through the VUE speakers, said Daly. The VUE system handled about 70 percent of what the studio audience actually heard. Precision speaker management was critical to Dalys design. An XTA DP448 processor ensured correct delay to each of the eight zones while also helping to keep the theater audio within the seating area to avoid spill14 MAY 2013 fohonline.com

PRG VP Bob Rendon and systems engineer Bill Daly over into the broadcast feed. Lab.gruppen FP Series amplifers delivered the necessary horsepower while a Yamaha M7CL console handled the mix. Daly elaborated, For broadcast shoots like this its always challenging to keep the house sound from bleeding into the broadcast feed. Between the XTA processor and the clean directionality of the VUE speakers we were able to achieve really good isolation with minimal efort.

INDUSTRYNEWS

Alt-J Tour Finds Digital Solution


itors. Im doing four mixes for the band, includ SAN FRANCISCO Alt-J, a British band ing a ButtKicker for the drum mix. The ability to that made it onto Rolling Stones Must See multitrack with the StudioLive is another cool Acts list for Coachella 2013, recently completfeature, Sharpless continued. It was amazing ed a U.S. tour with support from Lance Reynhow easy it was. You just plug in a FireWire caolds at FOH and Ron Sharpless at monitors. ble and click on Capture. Sharpless used a PreSonus StudioLive 24.4.2 I did get to use the StudioLive at FOH on a few digital console for the bands monitor mixes. occasions, Reynolds added, and Capture enabled I was really attracted to the layout of the From left, band and crew members Joe Newman, Lance me to record a soundcheck and immediately play StudioLive, said Reynolds. The input gain, the Reynolds (FOH), Gwil Sainsbury, Thom Green, Ron Sharpless the mix for the band. We also brought in the Studio channel faders, and the master output are al(monitors) and Gus Unger-Hamilton Live to do a live gig at a radio station in a very small ways right there in front of you no page fipping or knob sharing to access the essential controls. I had originally wanted to room, and I was able to multitrack, give everyone their monitor mixes, and try the new 32-channel console for FOH but the tour was kicking of before mix the show for the live audience. Im a reluctant player in terms of digital, and for the most part I it would be available. But everyone agreed that the 24.4.2 seemed like a prefer to stay in the analog world, he acknowledges. Ultimately, if it good ft for monitors. Sharpless generates several stereo mixes for the bands in-ear mon- sounds good Im happy and the StudioLive sounds really good.

L-Acoustics Announces KSE Accreditation Program


OXNARD, CA Having trained more than 2,200 technicians around the world since the introduction of its K Systems Standard in 2008, L-Acoustics has now established its L-Acoustics K Systems Engineer (KSE) accreditation program. We are thrilled to acknowledge the high level of expertise in the feld that L-Acoustics system technicians have accumulated, said KSE accreditation program developer David Brooks. Our training program reinforces our support for rental network agents and technicians in their continued efort to ofer the best service to their clients. Information about the program and prerequisites for candidates are available at l-acoustics.com. Applicants that pass the reviewing process and qualify for the status of KSE will receive an ofcial ID card issued by L-Acoustics, a KSE jacket, and publication in the online KSE directory on the companys website.

CTS Audio Handles Nashvilles CRS 2013


NASHVILLE CTS Audio provided live sound support for Nashvilles Country Radio Seminar (CRS), an annual showcase week for the industry where new artists and music are presented to top country radio people and industry heavyweights. This years CRS took place at the Nashville Convention Center, drawing more than 5,000 with live performances by Brad Paisley, Vince Gill, Darius Rucker, Gary Allan, Kellie Pickler and more all heard through JBL VTX Series line arrays powered by Crown I-Tech HD amplifers. Live sound for the event was provided by Franklin, TN-based CTS Audio, working with event production company De Lux Productions. CTS staf for the event included CTS vice president Mike Taylor, front of house engineer Jon Schwarz, monitor engineer Scott Heyniger and system techs Jeremy Bayne and Joey Eaker. CTS few nine VTX V25 fullsize line array elements and eight VTX S28 subwoofers on each side of the 30x40-foot stage, complemented by four JBL VerTec VT4888 midsize line array elements used as delay speakers.

INDUSTRYNEWS

Passion Revival Gets Masque Sound Support


NEW YORK Masque Sound provided a custom audio equipment package including Yamahas CL-5 mixing console with two RIO 3224 I/O racks for the Classic Stage Companys (CSC) revival of the Stephen Sondheim/James Lapine musical, Passion at Manhattans CSC Theater. Sound designer Dan Moses Schreier worked closely with Masque Sound to create an intimate experience for the audience. From a sound design standpoint, this was a very challenging show, said Schreier. The theater itself is very small, with only 199 seats, and we had a nine-piece orchestra suspended over the heads of one section of the audience. It was an enormous amount of work to make it sound as clear and transparent as the show demands, and Masque Sounds create a wash of sound that would envelop the audience. This way, it wouldnt seem as though the sound came from just one side of the house. By using reverbs very carefully, he was able to accomplish this. At the heart of the package Masque provided was the new Yamaha CL-5 mixing console with two RIO 3224 I/O racks. With a three-section fader layout for efcient handson control, the CL-5 is an ideal choice for a diverse spectrum of live sound systems. The Masque Sound team felt it would work perfectly. In addition, Masque Sounds technical team provided all of the training and setup for Schreier and his team, helping them gain familiarity with the new console. The show sounded great and Masque was unbelievably supportive, said Schreier.

Yamahas CL-5 proved a good ft. equipment and support was instrumental in helping production sound mixer Josh Reid, associate sound designer Nicholas Pope and myself achieve our vision. With the orchestra located on one side of the house, Schreiers main objective was to

NEW ORLEANS Sound designer Michael Paz turned to Outlines iMode technology for the networking backbone at the renovated Little Gem Jazz Saloon, a nightclub/ restaurant in New Orleans historic Jazz Alley. There are two separate performance spaces one foor apart, and Outlines iMode can be used to monitor, control and run the same program material through both systems simultaneously, Paz noted. The upper and lower performance spaces of the Little Gem Saloon have almost identical front-of-house systems based on three Outline DVS12P-iSP self-powered, 12-inch, twoway trapezoidal cabinets arrayed in a left-center-right confguration. A total of fve Outline iSM112-iSP cabinets, two on the ground foor and three in the upper level space dubbed The Ramp Room in homage to Rampart Street, act as foor monitors in the venue. In addition, one Outline DVS118SW-iSP single 18inch subwoofer rounds out the installation. All iSP designated speakers are iMode-capable. In a historic venue like the Little Gem Saloon, the sound system should be pleasing to the eye, but invisible to the ear, said Tom Bensen, Outline North Americas senior vice president and managing director. When it comes to sound reinforcement needs, traditional jazz music is akin to classical music. The transparent, crisp and natural sound that the DVS12P-iSP delivers is perfectly suited to reproducing and reinforcing each instrument and performance nuance note for note, without coloration. I was very pleased with the way the systems blended in each of the performance spaces both visually and sonically.

New Orleans Little Gem Jazz Saloon Gets Networking Solution

The Richard Knox Trio performs at the Little Gem. 16 MAY 2013 fohonline.com

GLOBALNEWS

MEXICO CITY Tecno Son Espectaculos has added the Nexo STM series to its rental inventory. The purchase includes 36 sets of STM cabinets; a total of 108 Main M46, Bass B112 and Sub S118 cabinets and the Nexo Universal Amp Rack (NUAR) power and management system. One of the largest sound rental providers in the country, Tecno Son Espectaculos is led by Sergio Zenteno. With 30 years experience in the industry, Zenteno has been a member of Nexos STM project since the beginning, when it was a complete secret, he noted. As a freelance engineer himself, and the frst person to bring line array itself to Mexico, Zenteno has in-depth knowledge of Nexo systems, including the large-format GEO D and GEO T arrays. Zenteno said that while the new STM rig was a big investment, it is also a good business decision. He was also impressed by the STM systems exceptional SPL performance and its unique modularity, which allows him to split it into several small systems or combine it on huge festivals like Vive Latino, Mexico Citys largest music event, in the Foro Sol, Azteca Stadium and other large-scale venues.

Mexicos Tecno Son Espectaculos Expands Inventory

The Noa Beach Club on Pag is using d&b audiotechnik C3 line arrays.

ZRE, Croatia The owners at Noa Beach Club, located in this town on the island of Pag, may not have to worry about its amplifed music rousting early-bird Italians from their slumbers across the Adriatic Sea. But there are other residents living on islands adjacent to Pag in the northern Dalmatian archipelago. To curb the likelihood of noise complaints, Tomislav Kuki Koran, from Rijeka-based Sunfower, steered the club toward C3 loudspeakers from d&b audiotechnik. Noa Beach Club owners Ivan Joki and Zlatko Balako were well-aware of the need for a good sound system before they could hope to attract internationally-known DJs. At frst, the d&b C3 loudspeakers might seem a surprising choice for a beach location, but as Koran noted, the Noa Clubs needs were unusual in that respect. Firing out to sea made noise

Nightclub on Croatian Island Steers toward New P.A. System


pollution in one direction a non issue, but the clubs on Pag island beach rub shoulders the horizontal pattern needed to be tight, 35 degrees in this instance, but still deliver plenty of power. Consider too the vertical fve degree parameter of the C3 and suddenly with two high stacks you have a well defned sound feld. How well-defned? According to Joki, its almost like the club had walls; step out of the feld and you can converse without shouting. Sven Vath and Richie Hawtin have already put the new system through its paces, and the club has also added small stacks of d&b T10s for monitoring. As for low end reinforcement, Koran noted, we provided d&b B4 subwoofers on a rental basis. In this environment, the cardioid pattern complements the C3 perfectly. I expect them to become a permanent install this year.

From left, Simon Bull, Martin Audio; Martin Connolly, Capital Sound; Anthony Taylor, Martin Audio; and Keith Davis, Ian
Colville and Paul Timmins, Capital Sound.

LONDON Capital Sound said it would be providing a Martin Audio MLA system along with DiGiCo consoles for the main stage at the AEG-Barclaycard British Summer Time Concerts in Londons Hyde Park this July. Acts set to perform during the July 5 to14 outdoor concert series include the Rolling Stones and Bon Jovi. It is the frst year that AEG has promoted the shows and that Capital Sound has been asked to undertake this high profle role. The company is understandably delighted by the appointment. We are very pleased to have been asked by AEG to provide the sound for the Hyde Park main stage, using the Martin Audio MLA system and DiGiCo consoles, said Capital Sound project manager Martin Connolly. Following extensive listening tests, the system was chosen thanks to its exceptional controllability and audio quality. We know it will perform extremely well and are really looking forward to the shows.
fohonline.com 2013 MAY 17

Capital Sound to Provide Gear for July Hyde Park Concerts

GLOBALNEWS
This years Carmen followed 2012s La Traviata

Big Palette Fukushima Convention Center Reopens


KORIYAMA, Japan The Big Palette Fukushima convention and exhibition hall has reopened after devastating earthquake and tsunami that rocked eastern Japan on March 11, 2011. One Systems 108IM and 112IM speakers play a key role in the renovated audio system at the facility. The 247,000 squarefoot facility hosts a variety of exhibitions, regional festivals, international conferences and sporting events during the course of the year. The facilities management relied on M and N Co., Ltd. of Tokyo to design the system, while Panasonic System Japan installed the One Systems speakers within the facilitys 31,329 square-foot exhibition hall and adjacent convention hall. The One Systems speakers replaced the original systems in both halls, utilizing the same locations to blend with the existing lighting and catwalk areas. M and N President, Masaki Morimoto said, we were trying to fnd speakers with incredible sound reproduction and the ability to deliver even sound pressure level as well, so One Systems was a perfect ft. The ability of One Systems speakers

Riva Audio, XLR Complete Major Renovation for Opra Royal de Wallonie
LIGE, Belgium After more than two years of restoration work, the 1875-built Thatre Royal de Lige, home of the Opra Royal de Wallonie (ORW, also known as the Royal Opera of Wallonia) has re-opened its doors to the public The 31-million Euro renovation project features a full L-Acoustics sound system, installed by Riva Audio and XLR sprl. The setup includes 20 KIVA cabinets (two six-KIVA arrays in front of the curtain and two four-KIVA arrays to serve the lower seats) plus eight SB18 and 14 8XTi as inflls. Two four-KIVA arrays round out the new design for the 1,440-seat venue. The big challenge was to persuade the city ofcials and opera management to place new audio gear in this historic 19th century building they wanted the venue to be sound reinforcement-less, said Frdric Vard, Riva Audios managing director. The entire venue was cabled with Cat-6 fber optics, replacing the traditional microphone snakes. Installing Soundcraft stageboxes for the signal transfer from the stage to the Soundcraft Vi4 console was a crucial measure, said Vard. In an opera environment, noiseless connections are essential throughout the system.

M and N chose One Systems 108IM and 112IM speakers for the 247,000-squarefoot facility.

Panasonic System Japan handled the install. to change the coverage pattern on the horns to 105 x 60 degrees was a huge plus for this application.

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GLOBALNEWS
Swedish Nightclub Doubles Up With Digital Consoles
minimize analog cable runs and facil STOCKHOLM Hamburger Brs itate system confguration. Onboard ofers live music and also hosts dinner efects were also cited as an important shows and corporate events. Head of factor, along with size and weight. We sound David Granditsky recently upsometimes need to move the monitor graded the venues FOH and monitor console down from the balcony where consoles. The new setup includes a pair it is normally situated. This is now a of Innovason Eclipse GT consoles and considerably less daunting task than two DioCore racks (64 and 48 inputs) it was previously, said Granditsky. The along with three SR16 mobile stageboxEclipses small footprint has enabled us es to replace analog snakes. to gain six more seats another boOne of the Swedish capitals most il The club added a pair of Innovason Eclipse GT consoles and two DioCore racks. nus. We also like the M.A.R.S. recorder lustrious venues and at the same locale we used it the other day to record Grace Jones, Rod Stewart and many more. for nearly three centuries, the original Granditsky, who serves as FOH engineer a live album that was released a couple of venue was demolished in the 1970s. The new facility built on the same site has hosted Sam- for Hamburger Brs, was looking for a sys- weeks after the opening of the current show my Davis Junior, Liza Minnelli, Tower of Power, tem based on an audio network that would and it worked like a dream. MPM, which has used Adamson gear for the Carcassonne Festival and Scorpions, is stocking up on E15s.

MPM Expands Inventory


PARIS Already the largest carrier of Adamson products in France, MPM will add an additional 32 E15s to its rental inventory, bringing the total E15 count to 78 boxes, all driven by Lab. gruppen PLM-20000Q amps and networked through Dante. Adamsons longtime French Distributor DV2 brokered this most recent purchase. When MPMs Marc Morosini was frst introduced to the Energia line, he was impressed. This system ofers more power than any other cabinet, in a smaller and lighter package. It also wins in the sound department; it is exceptional, has crystal clear sound even at high levels and very homogeneous coverage. Asked why he added even more E15 boxes to MPMs inventory, Morosini said, Weve been an Adamson rental house for many years and have had great success with the brand. Today MPM carries more than 600 Adamson cabinets. The E15 has exceeded our expectations, becoming the most highly requested PA on riders in France after only one season. Since 1990, MPM has ofered a full inventory of lighting, structures and sound equipment for international touring groups such as Linkin Park, INXS, Paul McCartney, Lou Reed and Alanis Morissette.

GLOBALNEWS Arkaservice Handles Sicilian Concert


SANTAGATA DI MILITELLO, Italy For a mid-March concert at the Teatro Aurora in this Sicilian town, Arkaservice provided K-array gear. The concert featured pianist Danilo Rea and singer Gino Paoli. Arkaservices Salvo Barone worked with the shows sound engineer, Luca Giannerini to cover the venue and avoid the need for front flls with K-arrays KR200 on each side of the stage. The Teatro di SantAgata di Militello can ft 150 seats in the balcony and 250 in the main foor, running up to a total length of 35 meters. Giannerini had already had the opportunity to work with
K-arrays larger systems such as the KH15 and was enthusiastic to accept Arkaservices proposal to use K-array for the show. The sound was perfectly uniform, real and above all natural. It was a memorable evening, said Barone. Everything was as easy as apple pie: I set up the system alone, and when Giannerini came in, we were operating in no time at all; he was pleasantly surprised at how quickly and easily we did the sound check. The dismantle was just as easy: the show fnished at 11:30pm and I was home by 1:00 a.m., a record-time for those of us in this business!

The Durov Animal Theatre. MixArt provided


a GLD console from Allen & Heath.

For pianist Danilo Rea and singer Gino Paoli,


Arkaservice provided K-array gear.

Once

you try the Audix i5, theres no turning back.


Richard Dickie Chappell, Music Engineer - Peter Gabriel

Heres what engineers are saying about the i5:


The best thing to happen to snare drums since Charlie Watts!
Paul Hager - Front of House Engineer - Miley Cyrus

I have been using the i5 on snare (top and bottom) for for five years, and its become one of my favorites. This microphone has an incredible SPL response with a smooth low end, and is durable enough to stand up to all the abuse from touring.
Stephen Shaw - Front of House Engineer - Buckcherry

The Audix i5 is a workhorse and is one of the most durable mics I own. It can adapt to most situations, but I prefer it on snare because it doesnt color the natural tone of the drum.
Joe Amato Front of House Engineer The Gaslight Anthem

Thanks to the Audix i5, getting a great snare drum sound is something that I take for granted. The i5 is what style of music. It is equally outstanding on stage and in the studio. The i5 keeps everyone happy: drummers, engineers, producers, and the audience.
Charles A Martinez - Front of House Engineer Steely Dan

MOSCOW Allen & Heaths Russian distributor, MixArt, provided a new GLD digital mixing system to manage FOH and monitors at the V.L. Durov Animal Theatre. The facility has been entertaining animal lovers of all ages since it was founded in 1912 by renowned clown and animal trainer Vladimir Leonidovich Durov. The revamped sound system includes a QSC line array, a GLD-80 console supplemented by GLD-AR2412 and GLD-AR84 I/O audio racks. The GLD has a user-friendly interface similar to that of analog mixers, so its easy for the theatres sound engineers and technical staf to learn even if they had never used a digital mixer before, said MixArts Igor Eremin. Secondly, it is a very compact system, so we were able to install it at the back of the seating area, instead of putting it into a closed audio control room. Thirdly, considering the mixers great functionality and quality of sound, it is modestly priced.

Moscows Durov Animal Theatre Opts for Digital Consoles

Finnish String Quartet Uses New Instrument Mics


HELSINKI, Finland Finnish string quartet Meta4 has invested in four DPA d:vote 4099 Instrument Microphones, which they are using to capture the sound of two violins, a viola and a cello. To date, Meta4 have used their new DPA d:vote 4099 Instrument Microphones in a concert hall environment, performing Kaija Saariahos Nymphea for string quartet and live electronics and Black Angels by George Crumb. These are, without a doubt, the best microphones we have ever tried, said Meta4 viola player Atte Kilpelinen, crediting their natural sound. Meta4 chose to upgrade its microphones after hearing good things from other musicians about the microphone range. We approached DPAs Finnish distributor Jyrki Makinen at Noretron Audio and arranged a full demo, said Kilpelinen. They provided us with clips for the violins and violas, and these are working extremely well. Our next challenge is to use them in a rock or jazz venue and were really looking forward to that. Formed in 2001, Meta4 also consists of Antti Tikkanen and Minna Pensola on violin and Tomas Djupsjbacka on cello. The string quartet has been recognized with numerous honors over the years, including first prize in the 2004 International Shostakovich Quartet Competition in Moscow and also, in 2007, first prize in the International Joseph Haydn Chamber Music Competition in Vienna.

This mic is slammin! If youre tired of a heavy stick hit blowing your snare mic cap to pieces, youll love the Audix i5!
Anthony Roberts - Monitor Engineer Tower of Power

On the road you need three things: WD-40, gaffer tape, and an Audix i5. Use the first if it wont move, the second so it doesnt move, and use the i5 when it has to sound good. The Audix i5 is the thinking mans standard for an all-purpose snare mic.
Howard Burke - Front of House Engineer - Little Feat

When JD Blair (Shania Twain) is out with us, I use only Audix mics on his kit. I have also used them for Derico Watson (Victor Wooten Band) for years. For full clarity, body, and accurate snare reproduction, I trust only the i5. Audix has never let me down!
Jack Trifiro Front of House Engineer Shania Twain, Victor Wooten Band

I am quite familiar with the Audix i5, because I use it on both of Travis Barkers snares. The i5 handles the high SPLs of his fast and hard playing, as well as the subtle nuances of his delicate rolls, all without coloration or distortion. This mic helps me get a great mix!
Jason Decter Front of House Engineer Blink 182

Audix is extremely proud of our award-winning i5 dynamic microphone, and of the many prestigious artists and audio pros who rely on it for live performances and studio sessions. The i5 accurately captures the backbeat of every drum kit - the snare drum.

Pictured with the DVICE a patented rim mount clamp with flexible mini-gooseneck.

www.audixusa.com

20

MAY 2013 fohonline.com

ONTHEMOVE
Adamson Systems Engineering added Brian Fraser to its headquarters sales and support team. Fraser, who has worked Brian Fraser in production management, at front of house and at monitors, has more than a decade of experience working in the live, touring and installation markets. Audio-Technica U.S. named Gary Dixon sales engineer/installed sound. Prior to Audio-Technica, Dixon worked with CAD Audio, SR Marketing, Integra Enterprises and Hudson Cable Television. served in various product engineering and marketing positions. Harman also named John Powell vice president of sales. Powell has been with John Powell Harmans sales team since 2001, having frst served as director of sales at Harman Music Group and, more recently, as director of sales for Harman Professional. Harman also named Brian Divine Brian Divine director of marketing of its Loudspeaker Special Business Unit (SBU). Divine returns to Harman from Bosch Communications Systems, where he last served as business line manager, Professional Sound for the brands Electro-Voice and Dynacord. Previously, Divine held key positions within Crown Audio for eight years, including marketing director of Installed Sound and Touring. Hosa Technology named Kyle Lassegard web marketing manager. Lassegard, who had managed Hosas marketing communications Kyle Lassegard activities for the past two years, is now responsible for all online marketing plans and programs. L-Acoustics named the Hills SVL Group as its distributor for the Australian and New Zealand market. Hills SVL, which operates Laure Guymont, Don seven sales ofcMcConnell and Tim McCall es and warehouse facilities, will handle L-Acoustics full product range. Pictured here are L-Acoustics Laure Guymont, Hills SVL Groups Don McConnell and L-Acoustics Tim McCall at L-Acoustics headquarters in Marcoussis, France. Martin Audio named James King director of marketing. King comes to Martin Audio from Motorola, where he served as EMEA brand marketing James King director. Prior to Motorola, he was with Dyson, among other companies. He will be based at the Martin Audios headquarters in High Wycombe, U.K. Meyer Sound named Bob McCarthy director of system optimization, a new position. McCarthy will be a part of the R&D depart Bob McCarthy ment, working on networked audio solutions. In addition, he will remain an active instructor in the Meyer Sound education program and support the design and commissioning of new Meyer Sound installations. Meyer Sound Marc Goossens also named Marc Goossens business development manager, Installation Markets, also a new position. Prior to Meyer Sound, Goossens was senior vice president, CTO and CIO at FUNA International Inc. He is based in Cincinnati, OH. Movek Corp LLC named Tommy Kim director of business development for Asia. He is based in Seoul, South Korea. Movek also named Promedia Tommy Kim Innovative Solution (PIS) distributor for myMix in Indonesia. Riedel Communications named Daniel Huard sales manager for Canada. He will work to increase awareness and adoption of Daniel Huard the companys products in broadcast, entertainment, and sports event applications, and to continue the growth of Riedels rental services.

Gary Dixon

EAW named Mega Audio, GmbH, based in Bingen, Germany as their distributor in Germany. Harman Professional promoted Mark Gander, who frst joined the company in 1976 as a transducer engineer, as director of JBL technology. Since joining the company he has

Mark Gander

fohonline.com 2013 MARCH

21

2013
Musikmesse/ Prolight + Sound
FOH Staff Report

SHOWREPORT

prolight+sound
SuSy Lowe

Product Hits of

Jochen Gnther

very year, the arrival of spring brings the Musikmesse and companion Prolight + Sound music/pro audio tradeshows to Frankfurt, Germany. For anyone whos never attended, its a huge affair sort of like a combined NAMM / AES / InfoComm / LDI / DJ Expo, with 10 exhibition halls (plus outdoor displays) spread out across the citys expansive Messe fairgrounds. Yet despite some initial concerns about the fnancial health of the European Union particularly given the difcult economic conditions in Greece and Portugal Musikmesse / Prolight + Sound (which took place from April 10 to 13) was a huge success. In fact, the 2013 event set a new record of 113,000 visitors from 142 countries up three percent from last years attendance of 109,481 from 120 countries. This veritable food of visitors exceeded

Solid State Logics new Live console was the talk of the show.

The combined exhibitions set an all-time attendance record of more than 113,000 visitors from 142 countries.

Avid unveiled its latest generation Pro Tools 11 DAW platform at the show.

22

MAY 2013 fohonline.com

Pietro Sutera

by a wide margin not only our expectations but also those of the exhibitors, said Messe Frankfurts executive board member Detlef Braun. This is a fantastic result. Other than a few light rain sprinkles, the main complaint about this years event was that the first few days overlapped the NAB show in Las Vegas, making for some creative travel plans as some exhibitors and visitors scrambled all-night connections to attend (at least part) of both shows. No problem with that next year, although the same overlap will return again for the 2015 events, so be warned. But aside from these minor glitches, with 2,285 exhibiting companies from 54

countries there was plenty to see and hear at Musikmesse / Prolight + Sound 2013, including a lot of activity in new consoles and speaker systems. So lets get started!

expanded metering and more. Shipping is slated to begin in Q2 2013, and despite rumors to the contrary, both Avid and third-party ASIO interfaces are supported. In perhaps a more surprising move, studio console manufacturer Solid State Logic (solidstatelogic.com) launched Live, its first mixer for live sound production. Based on SSLs new Tempest DSP platform, Live offers 192 user-configurable, full-processing audio paths at 96 kHz, and features both local I/O as well as a full range of MADI-connected stageboxes as well as fiber support for up to 256 channels of bi-directional audio and control. Extensive automation, onboard effects and high-grade preamps round out the package. Pricing ranges from $84,000 and $130,000, depending upon configuration and its due out in September. For more details, go to fohonline.com/news/8562ssl-launches-live-console.html.
The expansive courtyards between the exhibit halls of the Messe Frankfurt fairgrounds ofered ample space for outdoor demos of large P.A. rigs.

Avid (avid.com) kicked off the show with the announcement of the Pro Tools 11 platform. While not specifically a live sound product, there are plenty of users who integrate PT into their systems either as show tracks, virtual sound checking or live recording/ archiving and will be interested in this major DAW that provides users with new, high-powered audio engines, 64bit architecture,

The Big Buzz

SHOWREPORT

Soundcrafts Si Expression is ofered in three frame sizes.

Midas announced a V2.1 software upgrade for all its consoles.

Consoles
ot all new mixer debuts were in the megabuck class. Allen & Heath (allen-heath.com) turned a few heads with its QU-16 rack-mountable digital mixer, a self-contained design with 16 mono onboard XLR /TRS analog inputs, three stereo inputs, four stereo FX return, four FX engines, moving fader automation, four mute groups, 16 buses and a 800 x 480 color touch screen. But one slick trick it adds is a Cat-5 dSNAKE port

for connecting to optional AR2412 or AR84 stageboxes. The Qu-16 is also iPad controllable via the free Qu-Pad app and is fully compatible with Allen & Heaths ME Personal Mixing System for individual monitor mix control.

Allen & Heath Qu-16

Behringer iX-16

Speaking of iPads, Behringer (behringer. com) bowed its iX16, a compact 16-Input, 8-bus digital mixer with 16 programmable Midas preamps and USB audio interface. The iX16 can be wirelessly controlled from anywhere in the venue using iPad/iPad mini, tablet PC, laptop or Mac computer. Other features include six TRS aux sends; two XLR main outs; 18 x 18 channel USB 2.0 audio interface; eight buses with inserts, six-band parametric EQs, full dynamics processing and onboard Virtual FX rack.

for iPad with a host of new features, including new channel plug-ins, vintage-style EQ/ dynamics and improved snapshot operation. Midas (midasconsoles.com) was demoing Generation 2.1 software for its entire range of digital consoles. V2.1 adds a rack-full of new latency-compensated FX plug-ins and dynamics processing options to every console in the PRO series, as well as the fagship XL8. New FX plug-ins include a dual-channel Klark Teknik DN60 Real Time Analyzer, a Klark Teknik tape saturation efect, sub-harmonic generator, multi-channel input phase adjustment insert, a ffth input compressor option, ducker mode for noise gates, plus a new transient accent gate option and a variable presence control for all input channel compressors. Roland Systems Group (rolandsystemsgroup.com) ofered numerous upgrades for its entire digital console line, including now providing PC-based SONAR Essentials multi-channel REAC recording to all registered V-Mixer owners. Simply connect a Cat5/6e cable from a V-Mixer console or split port to your PCs network port to capture up to 40 audio channels. Roland Systems Group is also now shipping an iPad control app and V1.5 software update for its M-300 V-Mixer. Available in three frame sizes, Soundcrafts (soundcraft.com) Si Expression 1, 2 and 3 digital consoles ofer 16/24/32-faders and mic inputs respectively; all three are capable of up to a staggering 66 inputs to mix by connecting any Soundcraft stagebox including the two new Mini Stagebox 16 and 32 (16 x 8 and 32 x 16) models or by connecting additional inputs over MADI or AES/EBU. Other features include onboard BSS, dbx and Lexiconprocessing, central color touchscreen control, iPad ViSi remote control and FaderGlow, adopted from Soundcrafts Vi Series large format fagship consoles.

DiGiCos SD Convert software

DiGiCo (digico.biz) unveiled SD Convert, a standalone fle interchange software tool that lets engineers transfer their session fles from one console in the companys SD range to any other SD series console. This makes it possible to move freely up and down the console range depending on space, budget and system requirements. The latest update to Mackies (mackie. com) Master Fader control app for its DL1608 and new DL806 digital live sound mixers is now available. Master Fader v1.4 launches 24 MAY 2013 fohonline.com

Yamahas MGP24X (shown here) and MGP32X combine digital convenience with an analog sound.

Yamaha (yamahaca.com) expanded its groundbreaking MGP mixer series with the MGP32X and MGP24X, with not only provide more input channels but also add three new digital features: USB device recording and playback, graphic EQ and a multiband com-

Jochen Gnther

prolight+sound
pressor. All combine a premium analog sound (with all-discrete Class-A preamps) with comprehensive digital control capabilities. In addition, the new MG large-format consoles ofer onboard VCM (Virtual Circuit Modeling) and two separate studio-grade efects processors, new 31-band graphic EQs on the stereo bus, 14-band GEQ and Flex9GEQ modes, and single-band and multi-band compressors. Yamaha also announced version 4 of its StageMix iPad app for its CL Series, M7CL and LS9 digital consoles. StageMix v4 includes new dynamics parameter editing, output port delay editing, output port level tweaking (gain/attenuation), PEQ copy/paste, phantom power switching, mix send pre/post switching, HPF slope parameter (CL V1.5 only), retina display support and other enhancements. designed as a standalone mid-size line array but can also be used as a downfll, or side fll in a larger e15 arena system. As the e12 and e15 share the mid and high components, they create a uniform and seamless ribbon of mid/high energy when the e12 is used in a downfll confguration. Also new from Adamson is the A-218, a workhorse double-18 subwoofer and the Point Concentric Series of passive, co-axial loudspeakers. Ideal for under-balcony or stair fll, the new line is available in a double-5 inch (PC5), single-6 inch (PC6) and single-8/10/12 (PC8/PC10/ PC12) versions. Alcons (alconsaudio.com) showed a production version of its LR24 mid-sized pro-ribbon line array, which the company refers to as its response to market demands for linear sound systems. The LR24 is said to deliver the same SPL as equivalent products in the midsize line array category, but with 15dB less distortion. d&b audiotechnik (dbaudio.com) showed Vi essentially installation-specifc versions of its popular V-Series medium-to-large line array systems, designed to ofer smooth and even frequency response over distance with high dynamic bandwidth and headroom. The series includes the Vi8, Vi12, Vi-SUB and complementary D12 DSP controlled amplifcation. ZLX is Electro-Voices (electrovoice.com) new line of portable speakers in powered and passive versions, available as 12- and 15-inch two-way models that can be used for mains and monitors. A proprietary split-bafe design optimizes driver time alignment.

The L-Acoustics 5XT packs a high-SPL coaxial punch into a diminutive enclosure.

Loud-Speakers!
This years Musikmesse / Prolight + Sound expanded the opportunities to actually hear speaker systems with the addition of demo rooms in the Forum building, as well various outdoor stages set up in the courtyards adjacent to Halls 3/4/5 and Hall 8.0. And there was plenty of new product to suit every price, application and production requirement. Adamson Systems (adamsonsystems. com) celebrated its 30th anniversary with an event at Frankfurts famed Villa Leonhardi restaurant that attracted a number of A-list attendees including Greg Brunclik from Clearwing Productions and Peter Hendrickson of Tour Tech East. On the show foor, the company unveiled two new additions to its fagship Energia line the new e12

full-range line array module and e218 subwoofer. Like the e15, the new e12 is built around the e-capsule, a surrounding module constructed in aircraft grades of lightweight aluminum. With its 12-inch Kevlar driver, the e12 was

Adamson Systems announced a new e12 addition to its fagship Energia line.

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fohonline.com 2013 MAY

25

SHOWREPORT
JBL Pros JRX200 series ofers afordable passive systems for portable P.A. applications.

Equipson Arion 10

JBL also announced extended V5 preset support for additional models of its VTX Series and VerTec line array loudspeakers, which leverage the OmniDriveHD linear phase FIR processing capability of Crowns I-Tech HD DSP power amplifers, while adding improvements in horizontal coverage.
Kling & Freitag Sequenza 5

Arion 10 from Equipson S.A. (equipson. es) is an ultra-compact line array system for small and medium size events and installations. Arion 10 combines a single 10-inch neodymium woofer with two 1.7-inch compression drivers on a fat front waveguide. A matching double-12 sub is also ofered. Fohhn Audio (fohhn.com) is shipping its new LX-220 hybrid line source system, the latest addition to its popular Linea Series. The 2.2-meter tall, 4-way loudspeaker is equipped with 18 long-excursion, 4-inch neodymium speakers arranged in a column, plus three 1-inch compression drivers (horn-loaded on the Fohhn Waveguide system). The new JRX 200 series of portable passive P.A. speakers from JBL Professional (jblpro. com) includes the JRX212 12-inch 2-way loudspeaker/stage monitor, JRX215 15-inch 2-way speaker, JRX225 dual-15-inch 2-way speaker and JRX218S 18-inch compact subwoofer. Designed to provide pro-level performance at an entry-level price, the top cabinets feature JBLs 2414H-C 1-inch compression driver mated to JBLs Progressive Transition waveguide. 26 MAY 2013 fohonline.com

Kling & Freitag (kling-freitag.com) debuted Sequenza 5, a compact line array based on the larger Sequenza 10, but with four 5-inch mid drivers and three 1-inch neodymium HF drivers. A matching Sequenza 5B 12-inch flyable subwoofer extends LF performance and the speakers easily adapt for flying or ground stack applications. Nicknamed the cheese box, the Redline KRM33 from K-Array (k-array.com) is an ultra-compact and low-profle powered wedge speaker with a controlled horizontal pattern and extended frequency response. Ideal for

prolight+sound
2013 MIPA Awards
DPA d:facto II vocal mic

Outline expanded its GTO series with the new C-12 line array.

K-Arrays cheesebox KRM33 is ideal for low-profle, under-balcony installations.

Line 6 StageSource L3t powered speaker

Behringer X32 console

ne highlight of Musikmesse was the MIPA awards, held during the show on April 11. Here are some of the nominated and winning products most relevant for live sound pros. In the Portable Sound category, nominated products included Yamahas Stagepas 400i/600i, HK Audios Lucas Nano 300 and Line 6s StageSource L3t powered speaker. Line 6 won. In the PA System category, nominees included d&b audiotechniks V-Series, JBLs VTX and NEXOs STL, with JBL taking the top honor. The Live Microphones/IEMs category included the DPA d:facto II vocal mic, Sennheisers Digital 9000 wireless and AKGs D12 VR kick drum mic. DPA won. Nominated in the Live Mixing Desks category were DiGiCos SD5, Soundcrafts Si Performer and Behringers X32, with the award going to Behringer. MIPAs studio technology awards Recording Software category featured nominees MOTU Digital Performer 8, Steinberg Cubase 7 and PreSonus Studio One version 2.5; PreSonus won. The Mixing Desk (Project Studio) nominees were Allen & Heaths GS-R24, Behringer X32 and PreSonus StudioLive 16.0.2. PreSonus won in that category as well.
JBL VTX line array

under-balcony and specialty installs, it has three 3.15-inch cone drivers and one 6-inch passive radiator for a 70 Hz to 18k Hz response. It also features an onboard DSP-driven, two-channel amplifer and a direct USB connection. L-Acoustics (l-acoustics.com) is now shipping its 5XT ultra-compact coaxial speaker

and SB15m compact single-15 subwoofer. The smallest member of the companys XT coaxial series, the 5XT has a one-inch diaphragm compression driver coaxially loaded by a fve-inch low-mid transducer mounted in a ported birch ply enclosure. The LA122 compact line array system from Next Audio (next-proaudio.com) incorporates a 12-inch neodymium woofer with two 1.4-inch exit neodymium compression drivers on a wave converter that transforms the spherical waves into cylindrical isophasic waves coupling seamlessly with the others high frequency transducers of the array. Outline (outline.it) celebrated its 40th anniversary with the unveiling of its new GTO C-12 line source array, which contains dual 12-inch

PreSonus Studio One version 2.5

PreSonus StudioLive 16.0.2

ADDITIONAL INFO: www.mipa-award.de.

fohonline.com 2013 MAY

27

SHOWREPORT

prolight+sound
of available IIR and FIR flters and a range of powered subs are ofered. Crown Audio (crownaudio.com) is now shipping its DriveCore Install (DCi) Series, with 2/4/8-channel analog amplifers ranging from 300 to 600 watts into 4 and 8 ohms and 70/100-volt systems. All are 2U designs and feature a proprietary DriveCore amplifer IC chip that replaces more than 500 parts from a typical amplifer design with one single IC. L-Acoustics (l-acoustics.com) has added the LA4X amplifed controller to its amplifed controller series. The LA4X is based on a 4-input x 4-output architecture combining the benefts of self-powered loudspeaker packages with the fexibility of outboard DSP and amplifcation. Lab.gruppens (labgruppen.com) Intelligent Power Drive amps ofer advanced DSP features in an afordable, compact, single-rackspace package. Both the IPD 1200 (2 x 600 watts into 4-oms) and IPD 2400 (2 x 1,200W) incorporate integrated DSP, networked monitoring and control via computer or iPad, a 4-channel input matrix, confgurable front panel controls, analog and AES3 inputs, Lab. gruppen limiters and rugged build quality. Powersoft (powersoft-audio.com) adds three new 8-channel power amps for fxed installs. The Ottocanali 4K4/8K4/12K4 can

Amplifers: Turning It Up

operate at low or high impedance; down to 2 ohms and can power 70/100V distributed lines without external transformers. These Class-D amps provide up to 12,000 Watts over eight channels for the largest model. Smart Rails Management technology maximizes system efciency to drastically reduce power consumption at any load/usage condition.

Production Essentials
And to keep your system from self-destructing, Eminence (d-fend.net) is now shipping the stand-alone version of D-fend SA30, designed to protect passive loudspeakers from excessive power conditions. D-fend allows maximum driver performance while ensuring damage-free operation and eliminates worries about blown speakers, HF drivers or crossovers. The user simply sets the thresholds and D-fend monitors/limits the amount of input power it passes through to the loudspeaker. Its USB compatible, and can be programmed to your
Eminence is now shipping a stand-alone version of its D-Fend speaker protection system.

RCFs HDL 20-A has 700 watts of onboard, DSP-driven amplifcation.

woofers, four 6.5-inch cone midrange units and two 3-inch throat compression drivers. The C-12s footprint is exactly the same as all the other modules in the GTO range, allowing full mechanical compatibility with GTO, GTOSUB, GTO-LOW and GTO-DF in terms of rigging, fying hardware and wheel boards. The GTO C-12 cabinet is 21.6% smaller in the vertical plane than the GTO, and the overall cabinet weight is 30% less that its larger sibling. Proels (proel.com) new Axiom AX2010A is a passive line array with two back-loaded 10-inch woofers paired to dual 1.4-inch exit compression drivers mounted on transmission line wave-forming waveguides. RCF (rcf.it) was showing its new HDL 20-A, a two-way active line array module designed for

portable sound reinforcement and installation applications. It features two 10-inch woofers, a 3-inch titanium-diaphragm compression driver, 700W of digital amplifcation and a DSP-controlled input section with selectable presets. RCF also expanded its TT line with three twoway speakers that feature Class-D amps and 32-bit/96k Hz processing algorithms. The 800watt TT1-A has a 10-inch LF driver; the 1,600W TT2-A and TT5-A have 12- or 15-inch woofers. All HF drivers are 2-inch exit titanium dome designs. Westlab Audio (westlab-audio.com) was demoing a full line of speakers, from its LabRat Six (6-inch coaxial) to the LabTop TwelveThree (three-way 12-inch) to the LabLine TwoEight (three-way 6-inch line array). All are powered and DSP-driven with a combination

TRx3210 Line Array

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28

MAY 2013 fohonline.com

SWEETWATER PROUDLY SELLS GEAR FROM THE FOLLOWING MANUFACTURERS, PLUS MANY OTHERS!
A Designs AKG Alesis Allen & Heath Aphex ART Ashly Atlas Sound Audio-Technica Audix Auralex Avantone Audio Avid Avid VENUE Aviom BBE Barcus Berry Beyerdynamic Blue Microphones Bose Bricasti Design Chauvet ClearSonic Cloud Microphones Crown dbx Denon Direct Sound DPA Earthworks Ebtech Electro-Voice Etymotic Research Eventide Fishman Furman Gator Gator Frameworks Hear Technologies Hosa JBL JoeCo Latch Lake Lauten Audio Lexicon Mackie Marantz Midas Miktek Mojave Audio Monster Neumann Peavey PreSonus Primacoustic Pro Co QSC Radial Rane RDE Roland Royer sE Electronics Sennheiser Shure SKB Soundcraft Switchcraft TASCAM TC-Helicon Toft Audio Ultimate Support Westone Yamaha

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When it comes to great live sound, you need the right tools for the job. Compromise is not an option. Thats why we carry the consoles, loudspeakers, power amps, and other live sound gear you need to get great results in any venue. Well work with you to make sure you get exactly what you need, when you need it. From theater to arena, Sweetwater is your trusted source for live sound gear.

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SHOWREPORT
specs from a desktop or laptop computer. Operating from a standard speaker-level signal, the D-fend SA300 requires no auxiliary power unless being used in low-power applications. The latest 6.1 version of the Lake Controller digital audio processing platform, features an improved implementation of Audinate Dante, support for SysTune 1.3 real-time audio analysis software and a number of other key developments aimed at both live sound and large-scale fxed installs. Comprising of both new software installer (Windows PC) and frmware update for Lab.gruppen PLM Series and LM Series products, Lake Controller v6.1 will be a free download from lab.gruppen.com. Riedels (riedel.net) RN.344.SI card provides RockNet integration for any Soundcraft Si Compact console via the consoles expanRiedels RN.344.SI card brings simple RockNet integration to Soundscafts Si consoles.

prolight+sound
sion slot. In its frst frmware release, the card supports 32 inputs/32 outputs to the RockNet system. Word clock out is available at the front panel. The RN.344.SI lets the Soundcraft console become a part of the RockNet digital audio network and enables remote control of any RockNet mic preamp. The RN.344.SI also supports RockNets Independent Gain Feature. More to Come There was a lot more product action from Frankfurt and well cover many of those on our web site at fohonline.com and in future print issues of FRONT of HOUSE. Meanwhile, Musikmesse and Prolight + Sound returns to Frankfurt next year from 12 to 15 March 2014. So mark those calendars now and until then, Auf Wiedersehen!
Powersoft ofered a peek at its nacscent M-Force technology in Frankfurt last month.

poweRsoft M-foRCe teChnoLogy

ne of the best things about tradeshows is getting a glimpse into new technologies. At PL+S, Powersoft (powersoft.it) announced the culmination of a four-year research project that could forever change the future of woofer design. Heres an early peek at Powersofts M-Force: Powered by proprietary switch-mode amplifcation, M-Force is an innovative motor design for moving a speaker cone. Rather than a conventional approach, where a voice coil moves within a magnet structure, M-Force employs moving magnets within a fxed-coil, push-pull linear motor driver under feedback loop control. The photo here shows a prototype attached to a cone on the show foor and an inset detail of the motor mechanism. Among other promising benefts, the system avoids the possibility of voice coil overheating a common cause of speaker failure. The approach to converting a signal from electrical to acoustic has not fundamentally changed since the beginning of acoustic design, says Powersofts R&D director Claudio Lastrucci. With M-Force, we have created an alternative method of acoustic transduction, by combining the latest technologies in the domains of power amplifcation, magnetic materials and advanced real-time digital signal processing. The result considerably improves the electrical-to-acoustic conversion efciency at a system level, allowing the true exploitation of the native qualities of switch mode amplifcation. This new approach brings many advantages that will set a new standard in low-frequency speaker design. George Petersen

PURE EMOTION

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HDL20-A

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The concept of D-LINE products derives from the touring industry, bringing into a compact speaker all the experience of RCFs professional sound heritage. D-LINE represents the latest evolution in active loudspeaker technology with a revolutionary design and sound output. Every detail has been carefully studied in order to offer musicians and professional artists the perfect tool to amplify their performance, night after night.

1400 Watt DSP processing 2 x 10 woofer 3 compression driver Up to 16 modules , 2 resolution

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SHOWTIME
Lil Jon DJ Set Sea of Dreams 2013
Transit/ LArt Pour LArt

The event featured Plantain, the Dustbowl Revival and Fort King

Sound Co

Concert Systems Production Group, LLC

Sound Co

Spider Ranch Productions

Sound Co

High-Desert-Music

Club La Vela, Panama City Beach, FL

Venue

The Concourse, San Francisco, CA

Venue Crew

The Holding Co., Los Angeles, CA

Venue Crew

Crew

FOH/Monitor Engineer: Theodore Pierce Production Manager: Randy Frierson

FOH Engineer: Pat McKeowen Monitor Engineer: Matt Cornick Systems Engineer: Duane Klose Production Manager: Alex Moran Systems Tech: Emily Welmerink

FOH/Monitor Engineer: Kevin Kent Production Manager: Baha Danesh Systems Tech: Gordon Hill

Gear

Gear

FOH Console: Avid Venue D-Show (1) Speakers: Meyer Sound MICA (14), CSPG Tour Subs (10), Meyer Sound 600-HP subwoofers (2) Processing: Galileo Power Distro: Motion Labs MON Console: Avid Venue Profle (1) Speakers: Meyer Sound MIDA (4), CSPG Tour Subs (4), CSPG Tour Triple 12s (2) Amps: Full Fat Audio Mics: Shure SM58, UHF-R wireless (4)

Gear

FOH Console: DiGiCo SD8 Speakers: McCauley MLA6 Amps: Lab.gruppen PLM10000Q Processing: Lake Power Distro: Six2 Rigging: CM Breakout/Snake Assemblies: Ramtech MON Speakers: Adamson M15 Amps: Lab.gruppen PLM10000Q Processing: Lake Mics: Shure

FOH Console: Behringer X32 Speakers: Mackie HDA (4), HD1801 (2) Snake Assemblies: Behringer S16 (2) MON Speakers: Yamaha A12M (4) Amps: Behringer EP1500 (2) Mics: Shure/Audix/CAD

32

MAY 2013 fohonline.com

Soundgarden

American Floyd

Mary J. Blige

The tribute band performs the music of Pink Floyd

Sound Co

Rat Sound, Briere Production Group

Sound Co

Warbabies Productions

Sound Co

Gemini Light, Sound, Video

Queen Elizabeth Theatre, Vancouver, BC

Venue

George and Sharon Mabry Concert Hall, Austin Peay State University, Clarksville, TN

Venue

Landers Center, Southaven, MS

Venue Crew

Crew

FOH Engineer: Ted Keedick Monitor Engineer: Martin Strayer Systems Techs: Jason Brandt, Casey McDaniel, Rico Domirti

Crew

Gear

FOH Engineer: Rob Lenz Monitor Engineer: Cory Winkler Systems Engineer: Mark Hawkins Production Manager: Rick Valles Systems Tech: Lucas Wyatt

FOH Engineer: James Martin Monitor Engineer: Michael Dunwoody Systems Engineer: Chad Cain Production Manager: Victor Reed Tour Manager: Michael Huggy Carter Systems Tech: Trae Sales

FOH Console: Avid Venue Profle Speakers: Martin Audio W8LC (28), W8LMD (4), WSX (16) Amps: Martin Audio MA4.2, MA12k Processing: Dolby Lake, Apogee Big Ben Power Distro: Motion Labs Rigging: CM Breakout Assemblies: Whirlwind MON Console: Avid Venue Profle Speakers: d&b M2 wedges; EAW MicroWedge 12, Microsub; L-Acoustics SB28, Kudo Amps: d&b D12 amp rack; L-Acoustics LA-RAK; Biamp Rack (4 ch); Chevin; Lab.gruppen Mics: Telefunken M80 (vocals), Shure SM 57, SM81, 98, 91, 52, KSM137, Beta 56, 57; AKG 451, 414, Audix D6, Sennheiser e935

Gear

FOH Console: Midas PRO2 Speakers: Electro-Voice X-Line (8), XLD (16) Amps: QSC PowerLight Series Processing: XTA Power Distro: Warbabies Custom Rigging: CM Snake Assemblies: Midas MON Console: Yamaha M7CL 48 Speakers: Clair 12AM Amps: Crown Processing: Clair IR Mics: Shure, Audix, Royer

FOH Consoles: Avid Venue Profle, Soundcraft Vi4 Speakers: d&b audiotechnik V8 (12), Q1, J-SUBs, V-SUBs, J-INFRA Amps: d&b audiotechnik D12 Power Distro: Lex Products Rigging: CM Snake Assemblies: Whirlwind MON Consoles: Avid Venue Profle, Yamaha PM5D-RH Speakers: d&b audiotechnik M4, Q-SUBs, Q7 Amps: d&b audiotechnik D12 Power Distro: Lex Products

Gear

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fohonline.com 2013 MAY

33

PRODUCTIONPROFILE

Mixing
Because We Can The Tour o
By GeorgePetersen

efnitely one of the hardest working bands in the business, quintessential American rockers Bon Jovi kicked of their 2013 Because We Can tour to a long string of packed SRO arenas, starting Feb. 10 at the Verizon Center in Washington, D.C. Named for the main single pull from the bands current What About Now CD, Because We Can is perhaps Bon Jovis most ambitious live undertaking to date. The tour is appearing on fve continents, including two early May dates in South Africa, as the band leaps up to a extended series of summer stadium shows, including a brief return to the States for fve stadium shows in July before heading to Brazil and Australia later this year. That enough should be big news, but of course the Bon Jovi headlines in 2013 were dominated by gossip about the sudden departure of longtime lead guitarist Richie Sambora. In mid-tour, Sambora was replaced by Phil X (Theoflios Xenidis), a noted session rock guitarist who had previously stepped in for Sambora on Bon Jovis 2011 tour. But as they say, the show must go on and Because We Can The Tour continues unabated.

Jon Bon Jovi uses a Shure Axient


with a Beta 58a capsule

On the Road
At the helm at front of house is veteran Bill Sheppell, who applied his 28-plus years of experience to the task. Long associated as the FOH engineer with John Mellencamp, Sheppell is one of those guys who cannot be typecast into a single genre of music, having worked for artists such as ZZ Top, Prince, Michael Jackson, J-Lo, Ministry, Korn, Green Day and others. Like a lot of sound reinforcement pros, Sheppell started of 34 MAY 2013 fohonline.com

as a musician. I was a guitar player and ended up having a job and paying for all the bands audio gear, he says. So when the band broke up, I ended up having a sound company at 17. By the time I was 18, I fgured out I was a better sound guy than a guitar player and when I was young, I ended up mixing Jef Beck and Bill Gibbons with ZZ Top. Sheppell hadnt toured with Bon Jovi before, although he had a pretty good idea of what to expect. I did all their promo stuf last year, but it was all on random sound systems every six weeks or so, yet I kept some continuity by using the same console, he explains. And from the time that rehearsals for this tour started in January, Sheppell felt right at home. Its a good gig, and I like working for the organization. I have some friends whove been with them for 20 years, and its feels good. I havent been here a long time, but Ive been buds

All Photos by steve Jennings

The Bon Jovi audio crew, (L-R): monitor engineerGlen Collett; monitor tech Dustin Ponscheck;
P.A. tech Thomas Morris; systems engineer Frank Principato; FOH engineer Bill Sheppell (in front); monitor engineer Andy Hill (in rear); and RF tech Ken Cubby McDowell.

Bon Jovi
Because We Can The Tour
Clair

SOund COmpany audiO Crew

with many of the crew for a long time, including some of the riggers I knew back from my ZZ Top days. Ive also worked with the production manager, Jesse Sandler, who was out with me on Michael Jackson.

The System
Clair is the sound company on the tour, which, to no surprise, features an all-Clair system. The speakers are i5s 14 in the main hang; 10 on the side hang and weve got Clair i5Bs in the air as subs, adds Sheppell. Ive used the d&b [audiotechnik] rig a lot, and I have a way of getting good low-end through the room with that. I can approximate that with the Clair rig, but we may switch to Clair

FOH engineer: Bill Sheppell Systems engineer: Frank Principato monitor engineers: Glen Collett, Andy Hill rF Tech: Ken Cubby McDowell monitor Tech: Dustin Ponscheck pa Tech: Thomas Morris production manager: Jesse Sandler

BT-218s in the air, because its a big rock show and there isnt much room beneath the stage we can only put three subs per side on the ground. Also, there are some high-dollar money seats up close. I cant pummel those people, so I need to get the meat of the P.A. from the air. This is why we have the subs in the air between the mains and the side hang. The upstage and rear flls are comprised of four hangs, each with ten Clair i3s. All amplifers are Lab.gruppen.

On the Board
From a console standpoint, Sheppell is defnitely in the DiGiCo camp. Im a SD7 fan at this point. I mixed on the Avid Profle when I was

pa SySTem
main pa Hang: (14) Clair i5s/side Side pa Hang: (10) Clair i5s/side Subs: Clair i5Bs (two columns of 12/side) upstage/rear Fills: Clair i3s amplifcation: Lab.gruppen

FOH Gear
Console: DiGiCo SD7 Outboard: Summit TLA-100 tube compressors; Eventide H3000D/ se UltraHarmonizer; TC Eletronic M-2000 reverbs

mOniTOr Gear
Consoles: Midas Heritage 3000; Avid VENUE Outboard: TC Electronic M-5000 reverb; Summit TLA-100 tube compressors; Aphex Dominator limiter wireless: Shure Axient mics: see stage input list page 36

fohonline.com 2013 MAY

35

PRODUCTIONPROFILE
All Photos by steve Jennings

FOH Console Input List


CH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Instrument Kick SR Kick SR Kick SL Snare Top Snare Bottom Hi-Hat Rack Tom 1 Rack Tom 2 Floor Tom 1 Floor Tom 2 Ride OH of SR OH SR OH SL Toys Bass Richie Stage Spare Input Richie Iso Richie Iso Vox Box Rich Acc 1 Rich Acc 2 Bobby Elec Bobby Acc Jon Electric Richie Iso FX Jon 6-string Jon 12-string Jon A Voc Jon B Voc Richie Voc Hugh Voc Bobby Voc David Voc 1 David Voc 2 Leslie Low Leslie Hi Left Transducer Shure Beta 91 Shure Beta 52 Shure Beta 52 Heil PR 31 BW Heil PR 22 Heil PR 31 BW Shure Beta 98 AMP Shure Beta 98 AMP Shure Beta 98 AMP Shure Beta 98 AMP Shure KSM 137 Shure KSM 32 Shure KSM 32 Shure KSM 32 Shure Beta 181 DI Shure SM57

Bill Sheppells DiGiCo SD7 console at FOH


CH 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 Instrument Leslie Hi Right Piano Left Piano Right Synth Left Synth Right Bobby Acou 2 Richie V 2 Dave V 2 Accordion Perc Hi Perc Low Guest Kick SR Trigger Kick SL Trigger Rack 1 Trigger Rack 2 Trigger Floor 1 Trigger Floor 2 Trigger RS Leslie Low RS Leslie Hi L RS Leslie Hi R Transducer Shure SM57 DI DI DI DI DI Shure Beta 58A Shure Beta 58A DI Shure Beta 98 UHF Shure Beta 98 UHF Beta Shure 58A Axient DI DI DI DI DI DI Sennheiser MD-421 Sennheiser e609 Sennheiser e609

with Mellencamp, and I might switch to an SD10 when I go back to that. On this tour, Im tracking all the inputs and audience mics because there is no separate recording rig, and Im up to about 75 inputs. This seems like a lot for whats essentially a 5-piece rock band, but the studio guys like having everything for Jons records, so Im giving them every FOH outboard rack thing they want and everything theyve used so far in post has worked out well for them. And this way I can also have the virtual sound check and make sure everything sounds great. The SD just sounds good.

Inside and Outboard


For this tour, Sheppell has found the right balance of in-the-box and outboard devices to give him the sound he wants. Before we went into the one-ofs last year, I had an SD7 at my house, so I could work on mixes. I set up a mix the normal way I do with an SD7 and some analog stuf I always use, he says. I also tried some of the Waves stuf, but didnt need it so much with all the multiband compression and stuf the console already has realistically, theres a C6 on every channel. Also, this tour doesnt have any crazy efects, so Im happy with the console with Wirelessworld setup a few analog things, like the Summit TLA 100s. Im as fan of those its a great compressor. I have an old [Eventide] H3000D/se, which I use for background vocal widening. I also have a couple TC Electronic M-2000s I use one for snare verb and the other as an autopanner. Thats pretty much it nothing crazy. In terms of reverbs, Sheppell he also uses the SD7s onboard efects, but not too much. You really dont need a lot of vocal reverb when youre working arenas. So its the M-2000 on snare and the onboard reverb on toms. But there are no high-tech outboard preamps in use, even for the money channel. The preamps in the new SD racks are pretty good. I could go with something outboard, but in big arenas are people really going to hear that much of a diference? The TLA-100 warms the channel a bit and the preamps are good in the new 192 SD racks.

Heil PR 30 Shure KSM 313 Shure SM57 DI DI Shure SM57 DI Shure SM57 Shure SM57 DI DI Shure Beta 58A Axient Shure Beta 58A Axient Shure Beta 58A Shure Beta 58A Shure Beta 58A Shure Beta 58A Shure Beta 58A Shure SM91 Shure SM57

60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

Video L Video R Audience SL 1 Audience SR 1 Audience SL 2 Audience SR 2 FOH L 1 FOH R 1 FOH L 2 FOH R 2 Mix L Mix R Jon T/B Richie T/B Hugh TB Bobby TB

Direct Direct Shotgun Shotgun Cardioid Cardioid Shure VP 88 Shure VP 88 Shure KSM 141 Shure KSM 141 Direct Direct SM58 w/CoughDrop SM58 w/CoughDrop SM58 w/CoughDrop SM58 w/CoughDrop

Mics
Weve been using the Shure Axient for Jons vocal, which in terms of RF, has been bulletproof. The wireless mics have Beta

36

MAY 2013 fohonline.com

58a capsules, and all the hardwired vocal mics are Beta 58as. We have the normal Shure kick drum setup, with an SM 91 and Beta 52. The snare has a Heil PR 31 on top and a PR 22 on the bottom, says Sheppell. The studio guys didnt want a condenser on hi-hat, so theres a PR 31 on that. The toms have Beta 98 AMPs these are great with the new hardware, more solid gooseneck and no separate transformer. Im using a Shure KSM 137 on ride and KSM 32s on the overhead channels. Jon and Bobbys [tour guitarist Bobby Bandiera] electric guitars are SM57s; and the Richie/Phil X iso cab has a Heil PR 30 and a Shure KSM 313 [ribbon mic]. Its not a Shure endorsement, but the stuf works well. Selection of a direct box for bass can be key to the sound on any tour. When we were in rehearsals, we listened to a lot of direct boxes, then fnally settled on a Countryman Type 85. The bass sits in there well. He [Hugh McDonald] is a very smooth player and plays with fngers, so we chose the one that gave us the most presence to let it sit out a bit.

considerable hearing loss over the years, which makes on-stage monitoring much more of a challenge. Phil, having good ears, makes it much easier. Since Phil essentially parachuted into handling Richies position, we started with wedges, adjusting the mix for him, but now hes entirely on in-ears and the wedges went away.

The Monitor Position


While Andy Hill works on a digital Avid VENUE, Colletts console of choice is a Midas Heritage 3000. Its good old analog, Collett explains. People especially younger people always ask me why I prefer mixing analog, although on some shows, such as when I was working with Mariah Carey, digital was the perfect way to go, with its link to time code for their Pro Tools guy. Shes also someone that you dont have

to constantly be mixing to and changing EQs for. Its a whole different requirement for an analog rock n roll band, or even for Paul Simon, who I used to mix with two H3000s, which worked really well. On one of his tours, which I didnt do, the monitor engineer was using a digital board and was constantly looking down at the board, rather than at Paul, who was frustrated because hed want to make quick changes in midstream and theyd take too long to implement. Monitor mixing is all about making the artist feel comfortable and secure when theyre on stage. But analog or digital, they both still have their place. On the subject of analog, I also use Summit tube compressors on Jons vocals and acoustic guitars, says Collett, and he loves the sound and warmth of that. Im using a TC Electronic M-5000, which to me is one of

the best reverbs out there. There really is not a lot of outboard gear in the mixes, but I do use an Aphex Dominator broadcast limiter on the in-ears, just to tickle it a little and keep a hard-driving mix like Jon Bon Jovis under control.

Wireless Issues
Handling wireless coordination a job thats growing increasingly complex is Ken McDowell, whos new to the Bon Jovi crew but most recently was out with Van Halen. For me, not having to worry about RF is heaven sent, says Collett, especially after the FCC sold all the 700 MHz band to Verizon, and wireless coordination became more and more difcult. Having a good, dedicated person handling RF used to be a luxury, but these days, its a necessity youre lost without it.

Loud or Louder?
Unlike a lot of tours, Sheppell tries to keep the SPLs under control. Its not really loud, he says. The fans are my age or older, and nobody wants to get beat up. The louder stuf is peaking around 103 dBA; and I try to sit around 99 to 101 dBA for most of the show. For the ballads, I try to bring it down and make the crowd have to listen in to make it feel more intimate. I try to mix with enough bottom-end so it seems like a big rock show, but without brutalizing anyone.

Monitorworld: Its Complicated


The main monitor engineer on the tour is Glen Collett, whos been working with Bon Jovi since 2005. Like Sheppell, Collett is also a seasoned pro. He began mixing monitors for Bryan Adams in 1983 and had been with it since then. Some of Colletts other long-term clients include Paul Simon, James Taylor and Bette Midler. One might think that monitor mixing for a straightforward rock band like Bon Jovi might be simple, but, as they say on Facebook, Its complicated. The tour has two monitor engineers: Collett handles Jon and the band who are all on in-ears; and Andy Hill does Richie/Phil-X, whos on wedges and flls. So how did this come about? Ever since I began here, I realized the need for having a monitor engineer that just took care of Richie Sambora, because his requirements were so vastly diferent than everybody elses, explains Collett. The entire band was on in-ears, except for Richie, who was on an open-earpiece that I developed for him, plus side flls and wedges. Plus, the monitor engineer also generates Richies efects on stage, which change from song to song. Theres a lot going on with that and it was better to have one guy [dedicated monitor engineer] taking care of that. After Richie left and Phil came in, there was a shift in the monitoring requirements. Phil is a studio guitarist whos played on tons of records. He didnt wander all over the arena needing coverage everywhere and didnt need anyone to generate efects for him. Working with Phil got a lot easier for Andy, Collett says. Richie, like Pete Townshend, developed fohonline.com 2013 MAY 37

BUYERSGUIDE
By GeorgePetersen

Beyerdynamic TG H54c

DPA d:fne

Headworn Microphones

ver the years, headworn microphones have evolved from clunky, low-f afairs into lightweight, nearly invisible transducers capable of serious audio quality that can equal or best many handheld mics. Once mainly relegated to singing drummers and keyboardists, todays headworn mics are more frequently becoming the choice of lead vocalists, classical soloists, live theatre performers, as well as for singers and spoken word in houses of worship applications. Besides interfacing with beltpack transmitters in wireless systems, these are also often also employed in a hardwired confguration. Nearly all of these mics operate from a low voltage (in the 1.5 to 12 VDC range) that would be sup-

plied via the beltpack, and would require a voltage adapter (available from most mic manufacturers) for direct connection to standard 48 VDC console phantom power. So in such applications, simply cutting of the miniature connector and replacing it with a full-size XLR will only result in damaging the mic. We checked out some headworn mics from a variety of manufacturers and encountered a wide selection in a variety of prices (all given in MSRP), terminations for various systems, and both headband and earworn styles to ft the individual preferences of any vocalist or presenter. It should be noted that most suppliers also carry headworn mic models in other styles and prices, so websites are listed, if you require additional information.

Style Headband type Condenser pattern Cardioid ColorS Beige, black termination Mini 4-pin XLR-F noteS Optional CV 18 for phantom powering; similar omni model also avail. Price $229

Style Headband type Condenser pattern Omniand directional versions available ColorS Black, brown, beige and lime green. termination Microdot; adapters available to XLR hardwire and all major wireless systems. noteS Left/right switchable; also single-ear, short/ long boom versions ofered. $620

Price

beyerdynamic.com Countryman H6

dpamicrophones.com Electro-Voice RE97TX

AKG HC577 L

Audix HT2

Style Headband type Condenser pattern Omni ColorS Beige termination 3-pin Mini-XLR-F noteS Can mount on either side; push-on presence cap boosts 12 kHz range by 3 dB; optional phantom adapter for hardwire applications. Price $449

Style Headband Style Headband type Condenser pattern Supercardioid ColorS Black termination Mini-XLR-F noteS Wired 48V phantom XLR (HT2P) version also ofered. Price (MSRP) $215 type Condenser pattern Omni; directional model also ofered. ColorS Light beige, tan, cocoa, black. termination Available unterminated or for all major pro wireless systems. noteS High-strength detachable cables can easily swap to ft diferent wireless models; left/ right side wearable boom; removable caps can vary HF response to individual needs. Price *Depends on termination $670-$695* Style Earworn type Condenser pattern Omnidirectional ColorS Beige, brown or black termination TA4F wired for E-V/Telex beltpacks. noteS 135 dB handling. $495

Price

akg.com Audio-Technica BP893

audix-usa.com Avlex HSP-49

countryman.com

electrovoice.com Lectrosonics HM172

Crown CM-311AE

Style Earworn type Condenser pattern Omni ColorS Black, beige termination Available unterminated or for all major pro wireless systems. noteS Onboard 80 Hz rollof switch Price $339

Style Earworn type Condenser pattern Omnidirectional ColorS Black, beige or cocoa brown. termination Ships with Mipro adapter; optional adapters available for most major wireless beltpacks and wired XLR use. noteS Includes two screw-on replaceable cables Price $275

Style Headband type Condenser pattern Cardioid ColorS Black termination Unterminated noteS CM-311A (hard-wired version) operates with battery/phantom- powered belt pack. Price $499

Style Earworn type Condenser pattern Omnidirectional ColorS Beige termination TA5F wired for Lectrosonics UHF beltpacks. noteS Removable HF peak cap adds control of excessive high frequencies Price $395

audio-technica.com
38 MAY 2013 fohonline.com

avlex.com

crownaudio.com

lectrosonics.com

Line 6 HS 70

Point Source Audio CO-5w

Sanken COS-11D HWM-R

Sony ECM-322BC

Style Headband type Condenser pattern Omnidirectional ColorS Tan, black termination TA4F mini XLR noteS Designed for Line 6 V75-BP, V70-BP, V55-BP, Relay G90 and G50 bodypacks. Price $199

Style Earworn type Condenser pattern Omnidirectional ColorS Beige termination TA4F, lockable 3.5mm, Hirose noteS Waterproof and sweat/makeup-proof design. Price $335

Style Headband type Condenser pattern Omnidirectional ColorS Beige, cocoa termination Available unterminated or with connectors for major wireless systems. noteS Same capsule as COS-11D lavalier Price *Depends on termination $695-$795*

Style Headband type Condenser pattern Omnidirectional ColorS Black termination Sony 4-pin SMC9-4P for use with Sony WL800 Series bodypacks. noteS Can be worn on left or right ear. Price $200

line6.com Mogan Elite

point-sourceaudio.com Que Audio DA12

www.sanken-mic.com Sennheiser HS2

sony.com/proaudio Voice Technologies VT910

Style Earworn type Condenser pattern Omnidirectional ColorS Beige or black termination Available for Shure, AKG, Sennheiser or Audio-Technica bodypacks. noteS Interchangeable cables with attached plugs allow easily switching between several models of transmitters. Price $400

Style Earworn type Condenser pattern Omnidirectional ColorS Beige, black termination Optional adapters ft all major wireless systems. noteS Left/right side wearable; Petite model also available for smaller heads. $339 (plus $29.95 adapter)

Style Headband type Condenser pattern Omnidirectional ColorS Beige, black termination Unterminated or with connectors for major wireless systems. noteS Integrated MKE2 Gold capsule; Umbrella Diaphragm protects diaphragm from sweat. Price *Depends on termination $389-$449*

Style Earworn type Condenser pattern Omnidirectional ColorS Beige termination Available unterminated or with connectors for most wireless transmitters. noteS Wearable on left or right side.

Price

Price *Depends on termination

$169-$231*

moganmicrophones.com Peavey PV-1

queaudiousa.com RODE HS-1

sennheiserusa.com Shure MX 153

vt-switzerland.com Wi Sure-Fit EL Series

Style Headband type Condenser pattern Omnidirectional ColorS Black termination Mini 3-pin XLR-F noteS Boom adapts for left or right side. Price $27.99

Style Headband type Condenser pattern Omnidirectional ColorS Pink, black termination RODE MiCon, with optional adapters ft all major wireless systems. noteS Detachable Kevlar reinforced cable. Price $499 (plus adapter, $29-$43)

Style Earworn type Condenser pattern Omnidirectional ColorS Black, tan and cocoa termination TA4F connector for connecting to Shure bodypacks. noteS Wearable on left or right side; Kevlar-reinforced soft fex cable. Price $249

Style Earworn type Condenser pattern Omnidirectional ColorS Beige termination Includes twist-on adapters for AKG, A-T, Sony and Sennheiser beltpacks. noteS Removable, replaceable cable. Included accessories convert mic from earworn to lavalier or instrument mount. Price $319

peavey.com

rodemic.com

shure.com

widigitalsystems.com
fohonline.com 2013 MAY 39

REGIONALSLANTS

KiAN supported Great Big Seas recent tour with Meyer LEO-M (30), 1100-LFC (12) and Galileo Callisto (4) components.

Concert Sound Services

By Kevin M. Mitchell

ong a regional player in Western Canada, KiAN Concert Sound Services has stepped up to play ball by investing in a Meyer LEO system. This because nothing other than a Meyer system will do, according to company president Mark Reimann. Heck, he didnt even have to listen to LEO system before he bought it. Ive been dealing with Meyer since the 1980s, and I trust those guys, he says. I never have a question about their quality. John Meyer believes that what goes into the speaker should be what comes out. Their speakers dont have their own sound like others do. He likes also that their speakers are coming with built in amplifers which is the only way to go these days. But really without even hearing it? Once you go to the Meyer factory, you see the quality control is unreal, says GM Derek Mahafey, who joined the organization in 2009. When we took delivery of our LEO, we had less than four days to install it in a show. I would not have the confdence in any other manufacturMAY 2013 fohonline.com

The SS KiAN (left). Above, from left, Derek Mahafey and Mark Reimann

er to take a system like this out of the box and put it immediately up in the air. The maiden voyage of the system was a high profle event indeed: they used it frst on the Winter Festival held on Dec. 26, 2012 in BC Place, which was the frst electronic festival held at the BC, and was headlined by Deadmau5. Then theres that new speaker smell. For our existing clients, those with the big festivals that

weve been doing for four or fve years, its nice to ofer the newest and best thing, Mahafey adds. For them, its enticing to promoters, and also they know that something like this can take their festival to the next level.

Ship to Shore Start


For more than a third of a century, Vancouver-based KiAN has been taking good care of the regional concert, touring artist, music festivals, special events, and corporate conventions that call on them. They have supported the Victoria Symphony Splash, an outdoor concert

that typically attracts more than 40,000 people. Especially dear to KiANs heart is the Commodore Ballroom, the ballyhooed nightclub in Vancouver, which theyve been servicing pretty much from the beginning. KiAN does a fair amount of audio installations, too, most recently at Great Canadian Gamings River Rock Show Theatre in Richmond, BC, and their Red Robinson Show Theater in Coquitlam, BC. KiAN company was founded in 1974 by Frank Jeltes. He named the company after a boat he had, where he had placed some Altec

40

KiAN Concert Sound Services


FOUNDED 1974 by Frank Jeltes LOCATION Richmond, BC Canada (Vancouver area) SERVICES Touring, festivals, special events, installations WEbSITE kiansound.com
KiANs LEO also roared for the 2013 TOIFA Awards (at left) and will be used this years Squamish Valley Music Festival (above).

When we took delivery of our LEO, we had less than four days to install it in a show. I would not have the confdence in any other manufacturer to take a system like this out of the box and put it immediately up in the air. Derek Mahaffey
A-7 Voice of the Theatre speakers, says Reimann. Someone asked to rent those speakers, and so this company literally started on a boat. Reimann came on board in 1985 from another sound company. When Jeltes retired in 1999, Reimann became president and sole owner. Also in 1985, the company started what would be a lifelong relationship with Meyer speakers. I still have the original speakers! he laughs. They are still in service and still sound great. Jeltes had done well servicing the club scene, but that was dying out by the time Reimann joined, so there was some retooling that needed to happen. It worked, because by the next year, Vancouver hosted Expo 86, a four-and-ahalf-month Worlds Fair, and the company got involved with a variety of diferent installs. In the years that followed, KiAN handled larger tours and they bought more Meyer gear. By 1995, they were supporting opera great Luciano Pavarotti, which they would do for eight years as his preferred supplier in North America. We probably did 100 concerts with him and The Three Tenors, he adds, referring to Pavarotti, Plcido Domingo and Jos Carreras. Along the way, the company also served tour-

ing acts including k.d. lang, the Irish Rovers and Kenny Rogers. Today KiAN handles it all with six full-time employees and many freelancers. Our main events today are in the region, mostly in British Columbia, explains Mahafey. Although our business has become a broad spectrum of services over the years, from festivals to large corporate one-ofs, and now award shows. Recently, the company had one of its biggest: Regarded as the Oscars of India, the Times of India Film Awards (TOIFA) 2013 was staged in April at the BC Place in Vancouver. It was seen by a live audience of close to 40,000 plus millions more who watched it on TV around the world. (Because of the global popularity of Bollywood entertainment, the award show now moves to diferent locations around the world; this was its frst trip outside of India.) The three-day extravaganza featured live music, movie screenings and the red carpet award show itself.

Gear Old & New


Besides KiANs large inventory of Meyer rigs, they also have a large L-Acoustic V-DOSC system. Driving them they have Yamaha PM5Ds, an Avid Profle, and for the analog world, a Midas Heritage 3000, Reimann says. The V-DOSC rig is powered via Crown and Dolby Lake products. And we still have a full arena rig of old conventional gear. So in addition to the new LEO system, KiAN has a full MILO system, the 1100-LFC, plus they still have the 700 HPS and the MSL-3, MSL-5, and MSL-6. Mahafey says of the older gear: Its amazing well be using some MSL-3s for an

event and some of our techs will turn around and go, wow I forgot how good these sound! And some of these guys arent even old enough to remember when they came out, he laughs. For the LEO, the two worked closely with Bob Snelgrove of GerrAudio, the Canadian distributor for Meyer. We were actually waiting for the new system to come out, and Bob was very helpful, Reimann says. Hes been a Meyer distributor for over 30 years and helped facilitate all that had to happen to make the deal work its a lot of money, and thats difcult to do for a small regional sound company. Another large event they just did with the LEO was supporting Great Big Sea, Celtic rock band from the eastern Canadian provinces. The system will be part of KiANs summer lineup of festivals including the Squamish Valley Music Festival. Itll be an active summer with the new LEO, Mahafey assures. While they take their responsibility seriously, as they handle most of the market in British Columbia, now that they have the new system, KiAN is aiming to do more touring and arena shows, Reimann says. With the touring, its not always coming down to the [lowest] dollar so much as it often does with one-ofs. Wed like to get back into more of the larger-scale touring, and thats why we buy the best. As for KiAN, the company continues to grow, both from the rental and installation sides. Ive noticed at one time it was feast or famine thered be tumbleweeds rolling through the shop on some months, Mahafey says. Now its more consistency, keeping us working steadily through the year.

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fohonline.com 2013 MAY 41

By PhilGraham

Fig. 1: The central cluster is one of the simplest approaches to subwoofer placement, and is predictable, yet non-directional. Photo Courtesy of Bennett PresCott Fig. 4: An endfre subwoofer array confguration.

Funny Looks
My frst attempt at directional control of subwoofers came in 1999, with the goal of reducing the spill between two stages. What I ended up trying out would today be called an endfre array. I remember getting quizzical looks for both the layout of the subwoofer cabinets and my request for additional DSP channels, which were not as cheap and plentiful back in those days. It was only after turning the system on, and seeing that it worked like the theory said, that minds were set at ease. Even today, the it looks wrong factor can be a big impediment to otherwise realizing gains in performance and control. We have been well-conditioned to stereo confgurations of main speakers, and pro audio people can be nervous to move out of the left/ right sub stack confguration into something more adventurous. If your production company, band, or venue has been looking to try some of these more advanced confgurations, let this article be comfort to see that others have blazed the trail, had successful gigs, and lived to mix another day.

Fig 2: Reversing the direction of one sub box in a ground stack (in this case, the middle enclosure) can result in a cardioid response.

Fig. 3: A cardioid array created by reversing the direction of the bottom enclosure in a ground stack confguration.

Guiding Principles
Before diving into directional bass arrays, here are some essential principles for understanding how the arrays operate: Subwoofers arent very directional, so whether youre standing in front of one or behind one, their response is similar. Turning a sub around backwards is simply a straightforward way to produce physical separation in space between the drivers. To produce directional response from a subwoofer array, you must physically space the boxes in some fashion. Only then can you delay certain boxes, change levels, and sometimes switch polarity. The core of directional control is physical spacing the cabinets followed by signal processing; this processing will be delay at a 42 MAY 2013 fohonline.com

minimum and sometimes also include changes in level and polarity. The larger an array is physically in any given direction, the more inherent directivity it has in that direction. A long line of subwoofers (e.g. stacked along the entire stage front), with no further processing, will have a more concentrated and narrow response in the direction where the line is long (i.e., perpendicular to the stage). Sometimes this is a desirable efect, like when two stages are adjacent and you are trying to minimize the spill between them. It can also be a disadvantage in a situation where the coverage area is much wider than the stage width. While directional subwoofer arrays are normally designed to have narrow directivity, one can use processing to broaden the coverage of an array that is large in one particular direction. Control of the array can be infuenced in each of the three dimensions by diferent array sizes and placements in each dimension. For instance, if an array is large horizontally, but small vertically, it will have narrower coverage in the horizontal and broader coverage in the vertical. Design of these arrays necessitates the availability of additional DSP, and amplifer channels, as each component of the array requires specifc processing for the directional control to work properly. Directional control is most efective in the far feld, which means at a distance far enough where the loudspeakers are similar in level to each other. If you stand very near the array, so the volume is dominated by a specifc loudspeaker, then the arrays directivity control will be found less efective. Simple arrays, like cardioid and endfre, can be set up (and visualized) without array modeling software, but more complicated arrays, with

directivity in multiple directions, are best predicted in software before implementing them in the feld. Arrays need some space surrounding them to allow for the sound from each speaker to interact. One rule of thumb is to keep them at least a meter away from any solid boundary. With these principles in mind, we now move on to a series of arrays implemented in the feld, provided to me courtesy of some of the participants on soundforums.net.

Photo Courtesy of Bennett PresCott

Photo Courtesy of tom Bourke

Subwoofer Arrays in the Real World


central subwoofer in a stack of three is turned around to implement the classic cardioid coverage pattern. Fig. 3, courtesy of Bennett Prescott, is the same type of cardioid array, but with the bottom box instead reversed. Theoretically, reversing the bottom box, which is closest to the foor boundary, gives the best overall cardioid pattern. In reality, though, both arrays are similar in coverage. This is a classic example of how production realities can get in the way of what is theoretically ideal. Cee Lo Green was a guest artist in the theater, and his monitor rig needed to be struck quickly. The

TECHFEATURE

ver the past two years of FRONT of HOUSE, we have covered substantial ground with respect to subwoofers. Whether on the specifcs of setting up a basic cardioid array or on how to design your own vented box, we have presented several nuts and bolts articles on the ever-important bottom-end that keeps sound reinforcement exciting. This installment is very much in keeping with the previous practical articles on subwoofers. I am suppressing my inner egghead tendencies towards discussing topics like phaser summation in the far-feld, or radiation impedance, and instead will look at a number of subwoofer confgurations as they were implemented in the feld of real gigs. We will briefy overview each confguration and discuss the implementation, and the goals behind the implementation. It is my hope that the readers will come away with a sense that many diferent clever subwoofer arrays have been implemented on real gigs, provide efective low frequency control and can be useful arrows in the sonic quiver when circumstances direct that way. Interested readers are encouraged to reach out if theyd like more technical references for creating these arrays.

Photo Courtesy of roBert CaPrio

Shown in Fig. 1, the frst image a center cluster of subwoofers under a mobile stage platform is courtesy of Tom Bourke. This is the most basic break from the left/right placement of subwoofers underneath the main speakers. This is something that can be easily implemented without any additional processing or delay lines. The center cluster provides more even coverage in the middle of the audience than a left/ right pair, which will have power alley areas and other areas where the subs are partially cancelling each other out. A very wide center cluster can have overly narrow horizontal coverage, but a small cluster like this one is a simple and efective improvement in low-end evenness for those small gigs. This array does not provide any directional control behind the boxes, so the amount of bass leaking behind this mobile stage is about the same being projected into the audience.

The Central Cluster

end result was reversing the middle box and leaving all three subwoofers on the dolly board for easy movement. Both of these arrays achieve the same directional control objective, which is reduction of bass behind the array by at least 15 dB across the entire low-end range. This provides much needed relief for Cee Los monitor engineer, and helps Prescott manage the on-stage bass level in the theater. Notice that in both Figs. 2 and 3, Prescott and Caprio have left sufcient clearance around the arrays to allow the cardioid pattern to be formed efectively.

Prescott also provided Fig. 4, which is a picture of the stage right endfre sub array from an outdoor show in New Jersey. This particular endfre array is three rows deep, and provides at least 12 to 15 dB (or more) of rear-facing isolation across the sub band. The endfre confguration provides a broad horizontal coverage pattern out in the audience area, while still providing useful reduction in sub level on the stage behind the arrays. Endfre arrays ofer more isolation as you increase the number of rows in the array, and require a fair amount of depth. Subjectively, endfre arrays are typically slightly preferred in overall sonics to the cardioid array. Also visible in this photo is the cardioid side-fll subwoofer, and a supplemental center sub cluster to help even out the horizontal coverage in the audience.

Classic Endfre

Fig. 2, which comes courtesy of Robert Caprio, shows Cee Lo Greens side-fll rig for a series of performance dates in Las Vegas. Here the

Two Takes on Cardioid

Center Endfre
David Sturzenbecher from Absolute Productions provides an interesting take on the endfre array for an event in South Dakota, as shown in Fig. 5. Here the 16 subwoofer

Fig. 5: An endfre subwoofer array placed as a center stage cluster.

Fig. 6: The innovative ICAD approach creates a directional response simply by moving the center sub enclosure(s) back by 1/4 wavelength (at 80 Hz), or approximately 3.5 feet.

iMaGe Courtesy of BranDon roManowski

Fig. 7: Another hybrid technique involves combining two cardioid subwoofers: one front- and one rear-facing.

boxes were placed in a two-deep endfre center cluster, eight in each row. The subwoofers of the back row were tight packed to provide a wider boundary for increased directivity, and the subwoofers in the front row were spaced slightly in the horizontal to shape the forward coverage and insure the rear rows sound would not be infuenced by a large boundary towards the audience. They achieved 10 to 12 dB of isolation on stage behind the subwoofer cluster, and also achieved a more narrow horizontal bass distribution due to the width of the cluster. This is a nice confguration for the situation where you want isolation on the stage and a narrow main coverage lobe. It would be useful in the context of two adjacent stages at a festival.

fgurations spotlighted in this article may open a few eyes in terms of what can be possible for low frequency control. Whether in the simple/ no extra processing center array or simultane-

ous control of directivity in multiple directions like the ICAD array, there are many creative and useful ways to lick the problem of low frequency control.

Phil Graham is FOHs regular technical contributor and resident scientist. Email him at: pgraham@ fohonline.com.

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Hybrid Arrays
The last two fgures are examples of what skilled systems techs can produce when they move beyond simple cardioid and endfre confgurations. Fig. 6 comes from Brandon Romanowski. He has dubbed this the ICAD array, for the Indigo Concert Audio Department array. This array likely started as a basic endfre confguration, but by spacing the subwoofers both vertically and horizontally, he can control the horizontal directivity and rear rejection simultaneously. This is a clever design that modeling software can really help confrm before implementing it in the feld. More advanced hybrid arrays are typically tweaked in the modeling software to nail down all the processing levels and delay times. The hybrid approach in Fig. 7 was frst confgured using the software EASE package before being implemented in the feld. It comes courtesy of Michael Smithers at Eclipse Audio in Australia. In the photo are two cardioid subwoofer pairs (one forward-facing SB1000 and one rear-facing). The two pairs are then confgured into a V that faces towards the audience. The back of the V, where the two rear facing subwoofers are closest, provides a consistent location for the rear rejection of the cardioid array. At the front of the V, the spacing between the subwoofers infuences the width of the horizontal coverage. Thus this array shapes both the rejection behind, and the width of the horizontal coverage. With the local residential area in clear view within the photo, this is a nice win in regards to noise complaints for the production company.

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Just the Beginning


This article includes less than half the photos that were culled from various gigs where people implemented low frequency control. The ones chosen here were by no means the biggest or fanciest arrays people had implemented, but represent a reasonable cross-section of types of arrays employed in the feld today. Hopefully, what may seem like strange con-

infocommshow.org
fohonline.com 2013 MAY 43

Photo Courtesy of MiChael sMithers

Photo Courtesy of DaviD sturzenBeCher

TechPREVIEW

By GeorgePetersen

he word is out. At last months Musikmesse/Prolight+Sound show in Frankfurt (see report, page 22), Solid State Logic, a leading manufacturer of studio consoles and processing tools, has launched Live its frst console designed for sound reinforcement applications. This is defnitely big news, but hardly the frst time a studio-oriented manufacturer has entered the live console market, with notable examples being the Avid VENUE and PreSonus StudioLive series. Interestingly, Solid State Logic did make an unofcial entry into the world of live sound a decade ago. In March of 2003, an SSL MTP 4848 board (designed primarily for flm sound mixing) was specifed by FOH engineer Denis Savage as the house console installed into the then-new, 4,100 seat Colosseum at Caesars Palace in Las Vegas for a fve-year extended run the residency show featuring Celine Dion, A New Day. According to SSL managing director Antony David, the new Live console was a couple of years in the making, because we like to get things right at SSL and we are very confdent that we have created a console engineers will fall in love with. SSL consoles have never been designed for the budget crowd, and Live ranges from $84k to $130k, depending on confguration. Intended for FOH or monitor work on tours or installations, Live is based on SSLs new Tempest processing platform and ofers 192 audio paths at 96 kHz. All processing is built into the console surface, with 64-bit internal processing throughout.

Solid State Logics Live console T


console via MADI with the potential for larger systems to make use of SSLs Blacklight technology for carrying up to 256 channels of bi-directional audio and control over a single optical connection.

At a Glance

Ready to Roll

Getting in Touch
A central high-res 19-inch touch screen ofers visual feedback and access to the efects rack and confguration/setup menus. A separate system monitor screen (mountable on an optional spring-loaded boom arm) shows all channels, VCAs, stem groups, auxes, etc. Twelve quick controls (each with a rotary and three buttons) beneath the touchscreen are assignable as detail controls for EQs, efect parameters, etc. Color coding is used to tie together anything thats displayed on the screen with the controls, faders and control tiles. A dedicated channel control tile has a smaller touchscreen with controls for rapid access to EQ, dynamics and inserts on any selected channel path. Live also uses the SSLs Eyeconix display, which allows bitmap images (drums, guitars, etc.) to appear with each channel, for quickly identifying sources at a glance. In any case, operators are free to set up and use any combination of touchscreen and/or hardware controls that suits their own preferences. Each of Lives fader tiles can display up to fve scrollable layers, with up to fve vertical banks in each. A dedicated call button brings up each bank, and both layers and banks are identifed with user text and color-coding. within this structure, users are free to arrange channels in any order desired.

be confgured in mono, stereo or LCR and can even be routed into another Stem Group to simplify the handling of complex mixes. Essential to sound reinforcement mixing, Live ofers 32 VCA and ten mute groups. Additionally, the main fader has its own metering, solo/mute and Query buttons and can be assigned to any channel, Stem Group, aux, VCA, master or matrix output.

Renowned studio console company Solid State Logic enters the live console market with Live, a large-format digital sound reinforcement mixer that ofers 192 I/O paths, fexible routing, powerful automation and onboard efects.

Onboard Processing
Channels can be full with complete processing or dry and consume less DSP resources. Full channels ofer high/low-pass flters, four-band parametric EQ (switchable between a precise constant Q mode and SSL Legacy EQ, high/low-pass flters with selectable slopes, SSL dynamics compressor with analog-style tube emulation, expander/gate, delay line panning and an all-pass flter. An efects rack ofers additional EQ options: 32-band graphic EQ; a 10-band parametric with selectable flter characteristics; and the unique G-EQ, a program-shaping EQ based on node selection operated with a familiar graphic EQ user interface. Efects can be accessed into the boards multiple the insert points for channels, buses or I/Os within the router. Selections within an included suite of 30 efects and tools include reverbs, delays (standard and multi-tap), modulation efects, EQ and Solid State Logics acclaimed Stereo Bus Compressor, with up to 96 efects available simultaneously. Beyond channel dynamics, the delay rack ofers de-essing, gating, dynamic EQ, Transient Shaping and SSLs popular Listen Mic Compressor. The reverb tool kit is based on the companys X-Verb plug-in, with gated verbs, plates, a specifc vocal processor, SSLs D-Gen and more. Modulation choices range from Band-Split Flanger, classic fange, envelope fanging, phaser, chorus and guitar chorus. Other useful add-ons include a denoiser, enhancer, pitch shifting and the VHD Saturator, which emulates SSLs Variable Harmonic Drive (VHD), adding amounts of second- or third-harmonic distortion to provide an edgy transistor sound or tube warmth.

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nal triggers. Scene groups enable editing of all selected scenes in a single operation, and automation flters can be applied to enable storing or making changes/updates to all or any part of show fles. And entire show fles can be conveniently stored/loaded to/from a USB drive via a front panel port.

And More...
In developing Live, Solid State Logic seems to have done its homework and listened to the needs of the industry. Attached to its steel chassis are handles placed for a two-man lift. The touchscreens are designed to provide clear viewing, even in daylight. A concealed light strip along the top edge illuminates the work surface. A wide variety of stageboxes and I/O options are ofered. MADI I/O connects the SSL Live-Recorder option, a single-rackspace unit that can record 64 tracks at 96kHz directly from the consoles input stage and play back through the channels in Soundcheck mode. And to ease setup, Lives onboard system tools include a tone/noise generator, a precision SPL meter and a FFT analyzer with fxed point per octave frequency spectrum analysis. So far, SSL has hosted a few private console demos of prototype systems in North America and worldwide. The frst deliveries of production models are due to start in September, 2013.

Ins and Outs


The 192 simultaneous mix paths (144 with full processing and 48 dry paths) can be allocated as channels, auxes, stems and masters are user-confgurable as mono, stereo or LCR to suit the needs of each show. A 36 x 36 matrix handles output routing to the PA system and can be segmented into four separate smaller matrices, providing dry paths with two insert points per path and gain control on each crosspoint to ofer outputs for line driver and PA control system requirements. A fexible collection of local I/O connectivity analog XLR, AES-EBU digital, MADI coaxial/ optical and USB) is built into the frame, along with MIDI, word clock, AES sync, SMPTE LTC time code, GP I/O, networking and card slots for future expandability. Channels have SSLs studio grade SuperAnalogue mic preamps with 24-bit/96k Hz A/D D/A conversion. A full range of Stagebox I/O options connect to the 44 MAY 2013 fohonline.com

Anyone who likes the hands-on hardware approach to parameter access will appreciate the Channel Control Tile. Located on the right side of the console, this section has 15 rotary controls surrounding a 7.5-inch touch screen and dedicated hardware controls for EQ, dynamics, pan and insert efects. The Channel Control Tile also ofers access to control of delay parameters as well as confguring auxes, Stem Groups, VCAs and mute groups.

VCA, Muting and Stem Groups


Stem Groups is a new concept introduced for the SSL Live. These are similar to a traditional subgroup, but can be user-defned as a full Stem Group (with all of a channels processing and routing fexibility) and perfect sending multiple channels to the same efects processor. Alternatively, these can be set up as dry Stem Groups, requiring less processing horsepower and deployed in applications such as efx returns. Stem Groups can

Automation
Onboard automation afords access to an unlimited number of automation scenes, which can be triggered manually or via exter-

TechFEATURE

Making a Great Impression


The First Step Towards Custom IEMs
By KathyPeck

n the early 1980s, there were no real solutions for musicians hearing onstage. With the support of the Whos Pete Townshend, H.E.A.R. (Hearing Education and Awareness for Rockers), a San Francisco-based non-proft organization, was instrumental in conducting the frst public information campaigns on music hearing conservation throughout North American and worldwide media with MTV, PBS, BBC, Time magazine, Rolling Stone and many others. The Steve Miller Band and The Grateful Dead co-headlined the frst full in-ear, wedge-less national stadium tour using Future Sonics Ear Monitors, creating a whole revolution: no foor monitors, speakers or equipment on stage: just performers and their musical instruments. Clean stages signifcantly cut down on overall stage sound levels and artists and sound crew were no longer at the mercy of being blasted by loud stage wedges and auxiliary amplifcation on stage, as they were now in control of their own stage volume and mix. Today, sales of custom-ftted in-ear monitors (CIEM) have grown exponentially, benefting music professionals in every feld, including touring musicians, club and dance bands, DJs, sound, monitor and FOH engineers, musical theatre orchestras, symphony and opera orchestras, houses of worship bands and audiophiles, as well as the general public. The pro sound market for CIEMs is reported to be 30 percent of audiology clientele and growing fast. There are many excellent pro companies supplying in-ear systems with drivers that appeal to nearly anyones taste or budget (see boxed list, above right). Universal-ft IEMs supplied with a variety of eartip styles and sizes are often a good way for musicians to test the waters of using in-ear devices, but for the best possible performance in terms of achieving isolation and eliminating sound leakage, custom ftted systems are the way to go.

Custom IEM Suppliers


1964 ACS Aurisonics Earsonics Etymotic Research Future Sonics JH Audio Sensaphonics Ultimate Ears Westone 1964ears.com acscustom.com aurisonics.com earsonics.com etymotic.com futuresonics.com jhaudio.com sensaphonics.com ultimateears.com westone.com

The Customized Approach


Once youve found a driver to your liking, the next step is having a custom earmold made. Diferent CIEM products may have

diferent technical requirements in terms of the type of dam used (see below) to make the impression or how much outer ear coverage is needed, so check with them before moving on to the ear impressions phase. The process then requires going to a hearing specialist who is experienced in making custom in-ear music products. The importance of making an accurate ear impression is an essential factor in the formula for making the best possible CIEM earpiece. The art of crafting ear impressions is much like making a three-dimensional sculpture of the inside of your ears. Precise measurements and the knowledge of the interior dimensions of your ear is key. An ear impression is essentially a cast of your ear. Hearing professionals such as audiologists have the tools and know-how for being able to take accurate impressions. Handcrafted custom impressions that uniquely ft your ears are not something of the shelf. It takes a true artisan. And something that you purchase in a kit and attempt to do by yourself could be a very dangerous experience for your ears if you are untrained.

There are some do-it-yourself impression kits on the market of varying levels of quality and efciency and these provide a possible alternative to someone who absolutely (due to geographic proximity) cannot access a trained impressionist or audiologist. However, given the afordability and availability of having professional impressions done (some companies even do them free toward purchase during industry tradeshows such as NAMM and InfoComm), the convenience and economic considerations of getting pro impressions makes a lot of sense. And aside from the health considerations of inexperienced hands properly placing the dam and molding material into your ears, impressions from an experienced practitioner are far more likely to be properly made with a higher degree of ear sealing efciency. If youre about to invest in a quality set of CIEMs, starting out with a great set of pro impressions is defnitely worth the extra expense or inconvenience. Our H.E.A.R. partner and friend, audiologist Jami Tanihana (Los Angeles) would agree that attempting to make an ear impression yourself could end up costing you more with bad results and safety issues than if you went to your local audiologist to begin with.

Pete Townshend, a longtime H.E.A.R. advocate, with


H.E.A.R. co-founder/executive director Kathy Peck

Creating the Earmolds


Once your impressions are made, these are sent to the lab to be cast, much like a lost wax casting, similar to the way fne art sculptures are cast. The acrylic solution is poured and begins to harden in an investment cast made from your impressions. The earmold canal insides are hollowed out by hand, which tunes it to about a 3 dB resonance of the natural ear canal. The CIEM driver and monitor cable socket are also set up and inserted, and other fne adjustments and cosmetic designs are made during the lab process. An overall ft that is too loose results in a compromised seal, and sound bleeds

through the gaps and may reduce the sound quality of the monitor. In order to have more of a full bass response you will need to have a good seal. Fit and comfort directly correlate to how good your monitors will sound. The better the ft, the better the feel and sound. In-ear monitors need to block -26 dB of ambient noise and ft snugly. Finding the right ear impressionist saves you time and problems down the line. Impressions for in-ear monitors are diferent than impressions for hearing aids. Hearing aids are much smaller than in-ear monitors, and their impression process doesnt need to capture a full-shelled earpiece with a completely in the canal (CIC) earmold, which is all-important for best results for CIEMs. Its crucial that you feel confident and comfortable with your choice of an ear impressionist. Call around. Find an audiologist who is music savvy and has made impressions for in-ear monitors before.

Kathy Peck is the co-founder and executive director of H.E.A.R. (Hearing Education and Awareness for Rockers), a non-proft organization that strives to prevent hearing loss and tinnitus among musicians, industry pros and music fans. Contact her at hearnet.com.

Six Steps to Making a Great Impression


1. Set up an appointment with your local audiologist/ ear impressionist. 2. Start with clean ears with no wax or debris present; if needed, have a doctor clean your ears beforehand. 3. A small ear dam made of cotton or soft foam is placed just past the second bend of your ear canal in order to protect your eardrum and serve as a backstop for the impression material. 4. A bite-block will be provided to allow an open mouth impression to be taken. It helps to keep your jaw open in a relaxed position producing a more comfortable, natural-ftting custom in-ear monitor. 5. A two-part epoxy designed for medical use is mixed and put into a specially designed syringe. Some ear impressionists use an ear gun syringe that holds a two-part mixture. The impression mixture is semi-viscous and it looks like Silly Putty.Its then injected into your ear, a feeling much like putting your toes in mud. The impression The completed ear impression goes beyond the Made from the ear impression, the investment cast second bend in the ear canal. is used to make the customers fnal earmolds. material goes right up to the ear dam and flls up the in-ear canal completely. I prefer to mix by hand and use a small syringe materials used for how fast it sets up. It could take about six that is easy for me to control. Mixing by hand is like molding clay minutes to harden typically. After the earmolds harden and set in your hands, it warms the impression material before it goes up, they are taken out of the ear. This is where I usually check in the ear canal giving the ears a more comfortable experience. for uniformity and balance at the frst bend and the second Some ear impressionists then pat everything down. In making bend of the ear canal, a detail of the full helix, crus of the helix impression it is a matter of technique choice, but I personally do and tragus and antitragus, and also check the ear canal tip for not recommend patting the mixture down after it is in the ear length comfort and over all tight ft. A great ear impressionist canal as it can possibly move and change the impression shape. will know if it is not the proper ft and will make a new impres6. Impressions I make at H.E.A.R. usually harden in about sion over in order to check and compare if need be. If its not one minute, possibly due to measuring and mixing the im- right, it should be made over. pression material by hand, the kind of silicone impression Kathy Peck fohonline.com 2013 MAY 45

TIPS & TRICKS

Incorporating Strings into the Rush Tour


By GeorgePetersen
Fig 1: This fy gallery view looking downward onto the Rush stage for the Clockwork Angels tour shows the extremely
close proximity of the string section (red platform at top of photo) to the drums, drum flls and instrument amplifers. The yellow-colored DI boxes are visible along the top edge of the riser.

nstage strings meaning a real string section are nothing new to rock shows, although this addition to the current Rush outing is a defnite change. Another change for the continuing Clockwork Angels tour (the second leg of which kicked of on April 23, 2013, with Rush delighting a sold-out house of more than 16,000 fans in Austins Frank Erwin Center) was the bands return to a number of markets not visited during the tours frst leg, which began last September. At the same time, some things (thankfully) dont change, with the lineup of vocalist/ bassist/keyboardist Geddy Lee, guitarist Alex Lifeson and drummer Neil Peart continuing to churn out their own brand of intelligent, intricate and invigorating hard rock. So far, so good.

The Problem
But this frst time that Rush had a string section might have been fraught with diffculties. More typically, in such instances, the string players are conveniently located of to the side, away from the amps, drum flls and Pearts elaborate 75-piece drum kit. So when Brad Madix signed on for his ffth full tour as FOH engineer for Rush this past year, he was faced with a sizeable dilemma. Not only would this iconic Canadian prog-rock power trio have a string section, but the players would be performing right on stage with Rush. Ive worked with strings in the past, but

John Arrowsmith

Rush FOH engineer Brad Madix


it was always either in a very quiet setting with minimal sound reinforcement or the violins were strictly electric, says Madix. On the Clockwork Angels tour, the band defnitely meant for the strings to be featured and acoustic. The main challenge was ftting pickups to the instruments without tampering with them too much and getting a great sound with maximum isolation all in a high-gain environment. just any was going to do the trick. When I started digging into which would make the best solution, I was not surprised to fnd that input impedance specs on DIs are generally a bit lower than what we were going to need. We found preamp solutions, but they ofered too many bells and whistles for my taste. We just wanted to get the signal to the consoles in the best possible shape. Madix had resigned himself to having something custom made when he sent over a note to Peter Janis, president of Radial Engineering (radialeng.com). When Brad contacted me, I told him his timing was impeccable, Janis explains. We had been having conversations with a few other acoustic artists and noticed that there was a defnite need for a DI that would sound good with piezos. The challenge here? Unless the pickup sees a very high input impedance, it tends to sound peaky and edgy, says Janis. We had just fnished building a prototype and I sent him the frst one to play with. The Radial PZ-DI can be set to 10 Megohms to address this and has a built-in high-pass flter to eliminate resonance, which can cause runaway feedback. After Brad did some tests, he was pleased with the results and we sent them a bunch more. The rest is history in the making. The Clockwork Angels string section complement of six violins and two cellos all run through Radials newest addition to its line of DI boxes. Other gear on the tour in-

The Solution
With the strings being placed directly behind the drum kit (see placement in Fig. 1), Madix had to rule out miking the instruments as a section, or even individually. He opted to use bridge-mounted pickups on most of the instruments. We wanted to avoid any kind of involved install on the instruments, hoping to fnd a solution that simply clamped on (as opposed to replacing a bridge or gluing something to the instrument). There were a few diferent solutions available, all of which amounted to some version of a piezoelectric pickup mounted to the instrument in one fashion or another. Then came the challenge of impedance matching and preamplifcation. Thats when things got a little dicey. All of the piezoelectric pickups are very Hi-Z. In fact, our frst choice topped the list at 10-million Ohms! Obviously, we were going to need a DI for these, and it was probably going to have to be an active one, and even then not

cludes a variety of Radial DI models used for keyboards, drum electronics, samplers and guitar efects; as well as the companys SW8 auto-switcher that allows instant switching to redundant backup systems. With the PZ-DI, we were able to integrate multiple piezoelectric devices seamlessly, and with glorious results, explains Madix. Anyone who is just plugging a piezoelectric transducer into any random DI and hoping for the best is probably missing out on much better tonality and dynamic range. Its nice that there are passionate designers and engineers out there paying attention to these details.

46

MAY 2013 fohonline.com

ON THE DIGITAL EDGE

Near-Field Monitors for Live Shows, Part 2

ast month, I wrote about the role played by using near-feld studio monitors during band rehearsals. This month I will concentrate on show applications for these small but very useful speaker systems. During rehearsals, I ran these speakers of the consoles monitor bus as one would in a studio. Once we are out on the road and working, I use a diferent output confguration to drive the nearfelds. Because I dont want the output signal interrupted whenever I PFL an input channel or AFL a VCA group or output bus, I put the nearfelds on their own stereo matrix output, instead of using the consoles Monitor Out. The monitor function is reserved solely for headphones.

This up-front console placement during the setup for the James Taylor show was later relegated to
a less-than-ideal position where near-feld monitors were a must.

Signal Flow
The Avid VENUE console has eight stereo output matrices available. I use one each for Main Left/Right Out, Near-felds, Record, and Video. That still leaves four free for auxiliary uses. If I am using the Lake processing equipment I customarily employ on tour, I create the following groups on the main page of the tablet computer. On subsequent pages, these large groups are then subdivided in descending steps down to the most basic individual control elements. The following are the main control groups I use for a theater show: All PA System All PA Main Left/Right Flown Main Left/Right Ground Mono Subs All Frontflls Mono Inner Frontflls Mono Outer Frontflls Mono Under Balcony Mono House Delay Near-Fields This confguration gives me maximum control over gain, crossover drive levels, EQ and delays for the various speaker systems deployed in the performance space. It also allows me to mute the entire sound system with one click if I need to do a bit of private listening on the near-felds. The Lake systems AES digital inputs are fed by a combination of stereo and mono matrix busses soft-patched to the VENUEs eight AES outputs.

The Near-Field Solution


I fnd that near-felds are especially invaluable in those theaters in which the mix position is stuck at the back wall of the orchestra section, hidden deep beneath the balcony overhang. Even if the theater has been both diligent and generous enough to install under-balcony speakers, Murphys Law will require that the FOH mix position will be placed in a location at which the engineer is in the worst possible position to hear any of them. In this less-than-desirable situation, I have come to rely on the Genelec 1031s. These self-powered enclosures are small and light enough to be placed on top of any consoles doghouse and the high end is crisp enough to help me hear a balanced mix without ofending the patrons around me with excessive volume. I dont use the subwoofer in this particular circumstance, because my main goal is to increase articulation and low frequencies seem to be the least impacted by the theaters physical defciencies.

a camera shop or sporting goods store. I often use a good quality laser rangefnder to determine the various distances from the main array to any of the locations at which I am listening. A device that computes ground plane linear distance, height and hypotenuse distance is the most versatile and will yield the most accurate results. Shooting the distance and then dividing by 1.1 gives me a good ballpark number from which to start lining up the various audio elements I may be hearing. Personally, I like tuning and aligning the entire system setup by mind, eye and ear but computer assisted systems such as SMAART or SIM are perfectly valid tools as well. I always set up the near-feld delay and level last after I am certain that the arrival times of all the other audio sources already line up in the most advantageous way. As a general rule for determining when all the delays are properly set, the point of reference should always be the stage. Audience members should be minimally conscious of the fact that they are listening to distributed sound sources. For under-balcony or upper balcony arrays, I always set delay times three or four milliseconds long to ensure that aural focus is directed toward the performance and not the ceiling. I next set the volume level right at the point where it cannot be determined if the delayed speakers are actually in use unless they are turned of. I then confgure the delay on the near-felds in exactly the same way. However, I run the nearfelds at a hotter level because a mix position located deep under a balcony is adversely affected by several acoustic problems. By far, the two most difcult hurdles one must overcome are the loss of high frequency content and the overall attenuation/compression created by the architectural structure. Most FOH mixers have a volume and frequency comfort zone in which the show just sounds right. I use the near-felds to make up for the volume and high-end loss and strive to best simulate the sound of acoustic environment in free space. This keeps me from mixing too loud for the rest of the room or making the system too bright.

rectangular room that is approximately three times wider than it is deep. This less-than-perfect circumstance is immensely ameliorated by the use of near-felds. We have all encountered this problem especially at corporate events that consider sound and lighting control areas as unwelcome incursions into the decorating scheme. As soon as I made aware that a FOH mixing position has been located where its impossible to hear one side of the PA, I always require that near-felds be provided. That way I dont have to trash the detailed stereo mix that Ive carefully created and revert to mono just so I can fully hear the balance all of the instruments. At this particular event, there are two main left/right four-deep arrays of Nexo Geo systems. On each side, there are additional two-deep arrays hung about 20 to 30 feet further ofstage. My greatest challenge has been manipulating the various arrival times to a location that is way outside the audio sweet spot. I will also use near-felds in a particularly

reverberant space so that I can resist By DavidMorgan the temptation to turn up the PA in a futile attempt to hear better articulation. More volume from the sound system has never defeated a bad room. Its a far better idea to adjust the setup to best accommodate a negative acoustic space and then trust your system engineer to perform all of the on-the fy tweaks during the show. I use the near-felds to get into a comfort zone and I try to stay there during the show. Excessive refectivity and reverberation are generally problems one encounters during an arena or shed tour. In most of these larger venues, there is adequate setup space and distance isolation from the audience to use larger nearfeld systems. I therefore carry the 12-inch Tannoy T12 Dual Concentric monitors on most arena/shed tours. Judicious use of good, reliable near-felds will help to keep you focused and out of the negative headspace that bad sounding rooms can all too easily impart. One fnal reason for regularly having nearfelds at FOH is the artistic requirement for constantly updating a mix. When I have the time and space in an arena or shed, I will set up the near-felds and run a bit of the previous nights show so that I can have instant feedback on the progress of the overall mix, the correctness of snapshots and the efectiveness of efects, inserts and equalization. I revert to the system EQ I created at rehearsal on the 1031s and the sub if those are what we are carrying or the full-range rehearsal EQ on the Tannoys. One should never stop crafting the presentation or sit on ones laurels even mid-tour. I often marvel at how the luxury of carrying a multitrack recording system has now become a day-to-day necessity. What used to require its own truck now fts easily in a 17-space shock-mounted rack. What an age we live in! Safe travels, everyone! Catch David at dmorgan@fohonline.com

In the Real World


At the time of this writing, I am working with James Taylor at a corporate event at the beautiful Four Seasons Manele Bay in Lanai, Hawaii. However, the mix position in this ballroom is located at the far right rear corner of a fohonline.com 2013 MAY 47

The Setup
Not surprisingly, one of the most valuable pieces of gear in my FOH workbox comes from

DaviD Morgan

THE BIZ

Its Springtime Be Careful Out There


he live touring season gets fully By DanDaley underway this month. Theres a lot riding on it because, while the housing market seems to be coming back, recorded music sales sure arent. Even with subscription and streaming services accounting for 15 percent of record business revenue in 2012, according to the RIAA, and digital revenue at 59 percent of total recorded music revenue, the big picture was down one percent from the year before. The economic emphasis on touring is real spending on concerts in North America surpassed spending on recorded music in 2009, and stood at $9.5 billion in 2011, up almost 20 percent from four years earlier but all that road work can lead to tired road warriors. Combined with more complex sets, heavier loads, tighter time constraints and increasingly volatile weather, the potential for danger in live music production might be as high this season as it has ever been.

notifcation, and public education related to hazardous weather events. Linkin Parks current world tour was the frst to have been deemed Storm Ready, as have production staging systems vendors Brown United and Mountain Productions. Jim Digby, Linkin Parks production manager, tells me that hes heard that several other touring artists have begun the process of accreditation for that status for this year.

Event Safety Guide


If you want some reading material for long bus rides or WTDs WeatherOps provides real-time warnings on flights, the Event Safety Guide mobile screens. should be ready later this sy Carnival in Las Vegas summer. It contains the collective wisdom June 8-10, 2012 or of about 600 industry members ranging the ability of temporary from manufacturers to riggers and touring structures to withstand production managers who make up the high winds. On the last Event Safety Alliance (eventsafetyalliance. day of the frst weekend org). The text will include links to U.S. agenat this years Coachella cies and organizations, including OSHA, the Valley Music and Arts National Fire Protection Association (NFPA) Festival, the Red Hot and stagehands union IATSE, and offer Chili Peppers, Wu-Tang guidance on various aspects of live event Clan and other bands safety, essentially creating a field manual were able to tough it out for an industry that has till now been at and perform as sched- the mercy of information scattered across uled at the Empire Polo thousands of local codes and regulations. Club in Indio, CA despite The Event Safety Guide will have a lot of the sudden arrival of a useful information in it, were promised, but powerful sandstorm. there wont be anyone looking over your If large, complex out- shoulder making sure that youve read it door events require many months of prepa- its purely voluntary, with no enforcement ration, the window for getting a good fx behind it. What it does have, however, is at on what the weather conditions will always least some element of moral compunction remain far shorter. Despite that unknown, those who live on the road will collectivehowever, there are now a variety of mar- ly increase their own vigilance about their ket-based solutions that attempt to reduce safety and that of others. the ability for dangerous weather shifts to To be sure, there is now more regulatory catch outdoor concert organizers by sur- scrutiny of staged events in the wake of prise. the Indiana State Fair disaster in particular, state and local legislators have amped up existing rules and added new ones. What Technology to the Rescue Weather Decision Technologies (wdtinc. Digby hopes to avoid with the new Event com) sells dynamic, web-based and mo- Safety Guide is any sense that its part of a bile interactive mapping solutions to me- legislative reaction to accidents, but at the dia companies, but last year it also took on same time hed like to see it reinforce the several high-profle concert-touring clients. need for collective industry caution. This is The 2012 Heart Tour, by the classic-rock an industry that has gone un-standardized band of the same name, received per-show, to a large degree for years, he says. We have event-specifc meteorological data under to make it clear that were not trying to reWDTs event venue safety information ser- strict creativity when it comes to tour production designs, but we also want to show vice, WeatherOps. WDT, with ofces in Norman, OK, (with- that safety standards can come from within, in the Midwests notorious Tornado Alley) from people who know the industry, rather and in Atlanta (also home to The Weather than from [legislation]. Taking care of business from within the Channel), receives a copy of an artists itinerary. Theyll follow that, sending out col- community is far preferable to more regulaor-coded updates and warnings to the tour tion in any industry, but it resonates particmanagers mobile devices by which deci- ularly strongly in live touring, where musics sions regarding tour events, in relation to independent streak manifests itself most fulweather, can be made. Production crews can ly. But thats especially important when revreceive daily updates regarding the forecast enues from live music are now the bread and in the next tour stop, up to seven days in ad- butter of the biz. Anything that turns fans away from live music is economic anathevance. Concert organizers can also beneft from ma, because without taking the show on the the National Weather Services StormReady road proftably and in one piece what program (stormready.noaa.gov), which is have you got left? designed to enhance awareness, preparedness, response, recovery, emergency public Reach Dan Daley at ddaley@fohonline.com.

Weather Concerns
Weather is always an important safety variable, and its the one factor that seems the most difcult to predict. The storms that led to structural collapses at the Big Valley Jamboree in Alberta, Canada (Aug. 1, 2009; one fatality, 75 injuries); Ottawa Bluesfest (July 17, 2011; three injuries); Indiana State Fair (Aug. 13, 2011; seven fatalities, 58 injuries) and the Pukkelpop festival in Belgium (Aug. 18, 2011; fve fatalities, 140 injuries) all packed winds that took organizers by surprise. Whether it was through heightened caution or improvements in safety procedures, training, rigging, storm monitoring or simple luck, there were far fewer fatalities and injuries from weather-related accidents during the 2012 touring season. Winds strong enough to tear down scafolding erected for advertising banners in Cape Town, South Africa (Nov. 7, 2012; one fatality; 19 injuries) did not afect Linkin Parks stadium show; the band, unaware of the chaos unfolding near the stadiums remote parking areas, performed as planned. More recently, winds were blowing in Miamis Bayfront Park on March 14, 2013 and

may have been a factor the night LED panels fell some 30 feet from the main stage structure during the setup for the Ultra Music Festival, seriously injuring two crew members. But the worst staging accident of 2012 involving the collapse of part of the massive staging setup for Radioheads concert in Torontos Downsview Park (one fatality, three injuries) occurred on a warm, sunny day, with no more than a light breeze. Other events have sidestepped high wind risk either through an abundance of caution such as Insomniac Events decision to postpone, then cancel, performances on Night Two of the three-day Electric Dai-

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48 MAY 2013 fohonline.com

THEORY& PRACTICE

Wheres the Money, Honey?

ne of the more serious issues facing engineers who travel without production is consistency of audio quality or lack thereof. When your entire audio chain is diferent every night, its tough to maintain a high standard of sound, and thats not taking into consideration the drastic variations in acoustics from venue to venue. In an ideal world wed all be able to use our preferred gear every night, but the reality is that when youre relying upon promoter-provided production, its sometimes peanuts, sometimes shells. Even if you cant pack your favorite 48-input desk into a carry-on bag, you can carry (or check as baggage) a small rack with a single high-quality channel designated for your star performer. A huge selection of vocal channels is ofered from a wide variety of manufacturers. Live sound engineers can thank the recording guys for this, since its become the norm for most studios to have a few premium channels for tracking, whether or not they can aford a megabuck mixing console.

By SteveLaCerra

headroom to do so without adding distortion.

The Digital Channel


Some vocal channels, such as the Focusrite ISA 430 Mk II, ofer built-in or optional expansion for onboard A/D conversion with a digital output. If you are running a digital desk, you may be able to take advantage of this, but be aware that youll have to somehow synchronize the word clocks of the two units or youll get audible pops and clicks. If the desk has a word clock output and the channel has a word clock input, you can connect a cable between them (probably a BNC-toBNC). Set the desks clock to internal, the channels clock to external and the channel will slave to the desks clock. In addition to the word clock connection, youll still need to make a digital audio connection. If the channel provides only a word clock output, you can do this in the opposite direction, or possibly set the desk to sync to the clock that is sent along with standard S/PDIF or AES/EBU digital audio output.

A popular money channel choice on many tours, Avalon


Designs Vt737sp ofers a tube preamp, opto-compressor, sweep equalizer, VU metering and output level control in a single unit.

Whats For Lunch?


Engineers who have a higher budget, or who are seeking gear that can perform double-duty in the studio might consider traveling with a portable enclosure that houses modules in APIs 500-series format, such as the API Lunchbox or the Workhorse-SixPack from Radial Engineering. The 500-series format provides tremendous fexibility because you can pick and choose the modules you want load into it. For example, you could confgure a custom signal path consisting of a Vintech 573 Class A mic pre, an API 550a EQ and a Crane Song Falcon (tube-based) compressor a combination thats impossible to achieve in any other manner. Whichever approach you choose, you might be surprised at just how good even a run-of-the-mill microphone can sound when coupled to a quality channel. Steve Woody La Cerra is the tour manager and front of house engineer for Blue yster Cult. He can be reached via email at woody@fohonline.com.

Whats In The Box?


The most critical part of the signal chain after the microphone is the preamp. If you do some math, you realize that compromises have to be made in the production of any mixing console. If we were to budget $500 per mic preamp, your average 32-channel mixing desk would start at $16,000 not unreasonable, but that doesnt allow for circuitry and components such as EQ, inserts, aux sends, summing amps, meters, power supplies and luxuries like faders, knobs, video screens or even a padded armrest. Therefore, it becomes apparent that only a limited amount of resources can be dedicated to the preamps. A vocal channel is a more cost-effective way of getting a premium mic preamp for a critical instrument plus, you can take it with you. Dont underestimate the power of a good mic preamp. You might be shocked at what you hear from even the most pedestrian vocal mic when its connected to a high quality pre. A basic vocal channel gives you at least two critical audio devices: microphone preamp and EQ, preferably with a high-pass flter (which wed consider a necessity). Many also include a compressor, and as you examine oferings in the category, youll fnd units that add features such as a de-esser, limiter, expander, low-pass fltering and (in a few cases) variable input impedance. The usefulness of these features will depend upon your application and the microphone(s) you plan to use. One advantage of using an outboard channel is that you are not stuck with the circuit topology of the mixing desk. For example, the Vintech X73 and X81 feature discrete, solid-state Class-A circuitry, while others like the Avalon VT-737 and Universal Audio LA-610 Mk II employ tube circuitry for completely diferent sonic characteristics none of which you are likely to fnd onboard a mixing console. Other popular channels include the Focusrite ISA430 MkII, which features variable input impedance for matching the input to your microphone and (for those on a more modest budget) the

from the mic to the preamp, which is always a good thing. But several issues crop up: 1. Gain control of the vocal channel is now strictly in the hands of the monitor engineer. This can present difculty in situations where the FOH desk and the monitor desk are very diferent (e.g., one is a modern digital desk and the other is a vintage analog desk). Perhaps one desk has less headroom than the other and requires a lower signal level from the output of the vocal channel. 2. Compression and EQ requirements for the monitor mix may be drastically diferent from what the FOH engineer desires especially when the band is using in-ears. 3. Unless the vocal channel has multiple outputs, the mic splitter will now be operating at line level. Transformer-isolated splitters in particular may not have the

The Focusrite ISA 430 Mk II ofers a digital output option


with word clock sync to digital consoles.

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PreSonus Eureka, which employs a Saturate control for emulating the sound of analog tape. The TCHelicon VoiceWorksPlus boasts voice modeling as well as modulation and harmony efects. Typically, output from the vocal channel is patched to the line input of a channel on the mixing desk, bypassing the mic pre which is often the weak link on inexpensive (and sometimes, even expensive) mixers. You may be able to bypass even more of the consoles channel circuitry by using the channel insert return instead of the line input. Desks that provide separate jacks for insert send and insert return make this easy: simply use the insert return jack as a line input. Consoles using a single TRS insert with tip = send, ring = return (or vice-versa) will require fabrication of a cable that leaves the send contact on the TRS disconnected. That being the case, keep the cable short: TRS send/return insert jacks are by nature unbalanced.

Wheres the Rack, Jack?


When using an outboard channel youll have to plan the physical location of the device. On the surface, this looks simple: put it at front of house where you can see and control it, and patch the snake line into the mic input. If you have a monitor engineer running a separate desk, they may beg to differ. Placing the vocal channel at FOH leaves the monitor mix(er) out in the cold, unable to reap the benefts of the improved signal path. Locating the vocal channel onstage before the mic splitter afords the monitor and front of house desks the better signal path and in fact requires a shorter cable run
Pictured: Kelly Hansen, Foreigner lead vocalist with the HH transmitter.

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fohonline.com 2013 MAY

49

SOUNDSANCTUARY

The Ten Suggestions


By JamieRio

Essential Rules Church Sound Volunteers Need to Know


power, (one button for all channels) bring down the main faders before pushing the phantom power button or switch. For my fourth suggestion, I want to address EQ. I approach all equalization by removing frequencies before adding them. For individual channels, I remove overpowering frequencies rather than boosting weaker frequencies. I believe this method creates a more natural sound. I use the same rule when I am adjusting the EQ of my front of house speakers. Of course, pulling out unwanted frequencies is the most important technique when ringing out your monitors. If you want to avoid feedback you have to identify the offending frequencies and remove them. This leads us to rule number five: Learn to identifying frequencies quickly and accurately. Your ears are you most important tool when mixing any live event. So, train those ears of yours to know what they are hearing. You have to be able to identify 1 kHz from 2k or 2k from 4k, etc. The more quickly you can identify a frequency, the more valuable you will be to your church. Right up there with frequency identification is decibels identification. For sound levels, I suggest a dB meter. I will call this number six. A dB meter is the most important tool (after your ears) in your arsenal. There are dozens of apps that offer dB meters or if you want to go old school, you can just buy a stand-alone meter. We all know quiet from loud, but many churches have limits on how loud they want their worship music. Typically, I work in houses of worship that have limits of 95 or 100 decibels. Pulling out your dB meter and adjusting the level according to the wishes of your particular church will make you a very valuable member of the audio team. Even if you are the only one on the team. For my seventh suggestion, I want to address the sorting of XLR cables. This rule will have two parts. First I color code my XLRs to identify their length. I use colored zip ties and separate my 15-foot, 20-foot, 25-foot and 30-foot cables. Of course, many church-

f you go to church regularly, you probably know The Ten Commandments. Even if you dont know them all in order, you know they exist. With that in mind, I would like to introduce some audio commandments for you. Actually, the word, commandment, is a little presumptuous on my part. So I will simply call them suggestions or rules. The fact of the matter is, there is no one single thing in audio production that is really difcult to learn. And if we break down all the tasks individually, the entire process becomes simple and fun. Okay, lets get on with it.

The first rule is, turn your sound system on from upstream to downstream and to always turn your system off from downstream to upstream. Or, in simpler terms, turn you mixer (and any outboard gear) on first, then your power amps or powered speakers. When shutting down the sound system, turn your power amps or powered speakers off first, then your mixer. Always turn things on and off in this order. You will avoid speaker pop and speaker damage. To take this rule a little further, when you turn power amps off, wait a few seconds (10 to 20) before turning off the mixer. Many power amps have internal capacitors that will store a voltage charge (the source of the pop) for a few seconds. So, dont turn off that mixer too soon. Second, whenever you plug in a microphone or any cable into your snake or mixer, mute the channel of the mixer that mic or cable is being plugged into. A mic (or cable) plugged into an open mixer channel can cause a nasty pop thats capable of damaging your speakers. If your mixer does not have mute buttons, just pull the fader completely down. There is one more thing to remember in the realm of pops. (Ill call this three.) Pull down faders when engaging phantom power. If your mixer has individual phantom power for each channel then pull the fader back before you give it the phantom power. Should your mixer have a global phantom

FOLO: First-Of-Last-On

Walter Bush (at the console) explains some fne points of digital mixing on the Yamaha MC7L with volunteers at Destiny Christian Church in Yuma, AZ.

es out there only use one length of XLR cables. If that is your church, more power to you. However if your house of worship uses cables of varying length, then color coding is invaluable. Wrapping cables properly will be my eighth suggestion today. There is only one way to wrap a cable so that it will unwrap smoothly and last longer. It is called the inside twist or over/under method. This technique involves holding the cable end in one hand (XLR or other) and creating a single round loop with the other hand. Then create another loop in the opposite direction by rolling the cable in your fingers. This is a bit difficult to explain without some sort of video clip, but you will create a figure-8 on top of itself. A properly wound cable will ultimately become trained to go into that shape more easily every time you wind it. This cable will be easier to unwind and last longer. Do not wrap a cable using

your forearm as a guide and dont wrap it like it was an electrical cable. Number nine is very simple but extremely important. Arrive at church early for every service. Even if you mix the same preacher and the same worship band day in and day you need to check out your mic placement, your mixer settings and outboard gear setting etc. Chances are they will be the same but better to find a problem before a service than during one. The tenth suggestion is to keep your gear clean. This is the only rule that should be a commandment, because clean gear sounds better longer. Use a vacuum or compressed air to clean your mixer, outboard gear, power amps and the immediate space that this gear occupies. Remember, cleanliness is next to Godliness. Have a comment? Contact Jamie Rio at jrio@ fohonline.com.

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FOH-at-LARGE

t is generally understood, by most college students and their parents, that the study of Philosophy should be considered as a minor or at best an elective credit or two towards graduation. I would think that the prerequisite for any student graduating from college as a Philosophy major would be ownership of a large trust fund or if that is not the case a good knowledge of plumbing, roofng, electric or some other technical profession. Audio engineering happens to be a great technical profession for poets, musicians and truth-seekers, as it seems to lend itself better to the artistic and idealistic type than some of the other technical careers available to emerging philosophers. Thats not to say that philosophy is too heady for the practitioners of other technical disciplines. However, we artistic types may have a little more time to be philosophical and to wax poetic as we ride the bus from gig to gig, or as we wait for the other philosophers on the crew to fnish the task of focusing their lights. The great thing about philosophy? While it can be a noble, intellectual pursuit, it is not exclusive to merely the lofty and intellectual people of this world. Everyone can have a philosophy, and most people usually have more than one to which they adhere and can expound upon; as witnessed by anyone who has taken a cab in New York City before the advent of the back seat television.
By BakerLee

A Sound Philosophy I
IllustratIon by andy au

century philosopher said, Every great cause begins as a movement, becomes a business, and eventually degenerates into a racket. I assume he was speaking about many applied philosophies. Possibly it might be best not to rely too heavily upon the untried philosophies and rather go with those that have been proven from a lifetime of efort, although sometimes a high ideal works out even if its not precisely as written. Margaret Thatcher said, Europe was created by history. America was created by philosophy. A bit snide, I would say, but not altogether untrue. Another quote, Rule number one, never lose money. Rule number two, never forget rule number one, coming from anyone but Warren Bufett would seem mundane, but since Mr. Bufett has such a well-proven track record, his tongue-and-cheek remark carries some philosophical weight. Alice Roosevelt Longworth said, I have a simple philosophy: Fill whats empty. Empty whats full. Scratch where it itches. Philosophically concise, to the point, and eloquently stated, although I wouldnt be surprised if Ms. Longworth was also guided by a more complicated philosophy as well.

A Sound Philosophy
This brings me around to the point, 5. The rational investigation once again, that everybody lives their of the truths and principles of Most of us need to make a liv- lives according to one or more philobeing, knowledge or conduct. sophical viewpoints. Sometimes we ing and dont have the time or choose a philosophy that we strive 6. A system of philosophical doctrine: (i.e., the philosophy of energy to contemplate heady to achieve, and other times we cite a Spinoza). that explains our actions. thoughts, but I do have a few philosophy 7. The critical study of the That said, I started thinking about the slogans that I think can be philosophy of sound. After all, there is basic principles and concepts of a particular branch of knowla philosophy of politics, a philosophy called a sound philosophy edge; (i.e., the philosophy of of mathematics, and so on. I have read science). some of these very heady dissertations 8. A system of principles and all I can say is that I see why certain for guidance in practical afairs; (i.e., a followed correctly) will lead to posi- philosophies are written by either cave-livphilosophy of life). tive results in ones life. ing gurus or trust fund recipients. Perhaps the reason its so difcult to Other lofty ideals such as democracy, Most of us need to make a living and make a living as a philosopher is because its capitalism and socialism to name a few dont have the time or energy to contemso hard to defne. By the way, the Spinoza of are also applied philosophies, which, if plate such heady thoughts as whether or item #6 refers to Baruch Spinoza who lived adhered to correctly, should provide excel- not sound exists on its own plane outside in the 1600s and is considered as one of lent results. The same positive results should the physical realm, but after putting in some Western philosophys most important think- also apply if one should attach themselves time in the audio business, I do have a few ers. It should also be noted that other than to a particular set of religious beliefs. Philo- slogans that I think can be called a sound being a well-regarded philosopher, he was sophically speaking, these theoretical sup- philosophy. also the recipient of a large inheritance. He positions work just fne at least on paper These are a few of the sound slogans by also had a steady job as a lens grinder and yet in their everyday application, perfec- which I work and live. was known to be quite talented at his trade. tion is hard to attain. Also, considering the 1. Control your environment and do not fast-paced life we all lead, who really has let your environment control you. time to read and disseminate all the intrica2. Keep a low input and a high output. Applied Philosophies 3. Follow signal fow input never goes As a trade, philosophy itself is not a high cies of the deep philosophical writings that paying vocation (its ranked just slightly accompany these intellectual and spiritual into output. 4. What happens on tour stays on tour. above audio engineer), although if one is concepts? 5. Know your limits. successful at their chosen profession, they 6. Open the channels, keep it simple, and can then write books and appear on talk Philosophical Slogans shows to explain the philosophy behind We are all inundated with sound bytes know when to stop mixing. 7. Feedback is not an option. their success. There is an abundance of self- and advertisements, which often appear 8. Im a technician, not a magician. help literature available these days regard- to be statements purporting to be a given 9. Neatness counts. ing sex, love, diet, health and money; and philosophy. A slogan is elegant in its brev10. Stupid gigs should be compensated many of these writings espouse not only a ity and is often easier to remember than a practical means to achieving happiness in whole treatise on the alleged subject and, with stupid money! 11. All gigs are stupid. regard to the aforementioned topics but just because it is concise, does not denote And my friend Joe Biegel adds this philosalso a philosophical way to vanquish the de- that it is less signifcant than the book on mons that keeps one from being fulflled in the same subject. Do unto others as you ophy to live by: Never become the ground. their endeavors. These way-of-life solutions would have them do to you comes to mind Good advice! are not just whimsical thoughts to ponder, as one of the more notable philosophies in but rather are applied philosophies that (if a nutshell. Eric Hofer, a well-respected 20th Contact Baker Lee at blee@fohonline.com.

Philosophy, Defned
From the Online Dictionary, philosophy is defned as: 1. A set of ideas or beliefs relating to a particular feld or activity; an underlying theory; (i.e., an original philosophy of advertising). 2. A system of values by which one lives; (i.e., an unusual philosophy of life). 3. Any system of belief, values or tenets 4. A personal outlook or viewpoint

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