Coachella Heats Up California Desert by xiuliliaofz

VIEWS: 161 PAGES: 56

									                                                                                                                           Alice Cooper to Host
                                                                                                                           Parnelli Awards
                                                                                                                               LAS VEGAS — The “Oscars” of the live                “As someone who has always valued
                                                                                                                           event industry, The Parnelli Awards, will          spectacle in a show,” deadpans Cooper,
                                                                                                                           grow in scope and star power this year. Al-        “I am glad the Parnelli Board has chosen
                                                                                                                           ice Cooper will be part of the proceedings,        to honor those designers, technicians
                                                                                                                           which will include emceeing the Awards             and engineers who make the shows look
                                                                                                                           Show, among other things. “Alice Cooper            amazing.”
                                                                                                                           is not only a respected rock legend, but               The Parnelli Awards banquet and
                                   ThE NEws MagaziNE For LivE souNd                                                        he’s also a genuinely hilarious guy,” says
                                                                                                                           PLSN and FOH Publisher Terry Lowe. “He
                                                                                                                                                                              award show will be held on Oct. 24. Coo-
                                                                                                                                                                              per was attracted to participating because
                                                                           JUNE 2008 Vol. 6 No. 9                          will be the foundation to which we build           of the emphasis the Parnellis place on edu-
                                                                                                                           our best, most entertaining Parnelli cel-          cation through its Parnelli Scholarship for
                                                                                                                           ebration yet.”                                     the Entertainment Engineering and Design

            Coachella Heats Up California Desert                                                                               The Parnelli Board of Advisors also
                                                                                                                           unanimously decided to add an award to
                                                                                                                                                                              department at UNLV.           continued on page 11

                                                                                                                           the show this year to honor all who make
                                                                                                                           our industry possible. In addition to a
                                                                                                                           Lifetime Achievement Award, the Parnelli                We Got
                                                                                                                           Board will now present two Innovator
                                                                                                                           awards the traditional Audio Innovator                  Your Installs
                                                                                                               RAT SOUND
                                                                                                                           Award, and now a second Innovator award
                                                                                                                           designed to honor those in our industry                 Right Here…
                                                                                                                           who have pushed the boundaries of spec-
                                                                                                                           tacle in performance in the lighting, stag-
                                                                                                                           ing, scenic or video fields.

                                                                                                                           Battle of the Amps: Sound
                                                                                                                           Image vs. Clair Bros.
                                                                                                                           By Breanne George
                                                                                                                               ESCONDIDO, Calif. and LITITZ, Pa.
                                                                                                                           — Call it the battle of the amps or du-
                                                                                                                           eling soundcos, but two of the biggest
                                                                                                                           sound companies in the world — Sound
                                                                                                                           Image and Clair Brothers — have both                         With InfoComm coming right
                                                                                                                           purchased an arsenal of amps for their                   up, it is time to look at some of
                                                                                                                           ever-expanding inventory and the du-                     those big installs again. And we
                                                                                                                           eling press releases came out maybe a                    have three performing arts centers
                                                                                                                           day apart from each other... Just a coin-                for your perusal. One in Boston
                                                                                                                           cidence? Maybe...                                        and two in less likely locations—
                                                                                                                               Sound Image of Escondido, Calif.,                    Modesto, Calif., and Tulsa Okla.
                                                                                                                           recently passed the 5,000,000-watt mark
                                                                                                                           in Crown I-Tech inventory. Sound Image
                                                                                                                           has deployed Crown I-Tech amplifiers on                  Modesto, Calif., has a symphony?
                COACHELLA, Calif. — The king of the alternative rock music festival, otherwise known as the                some of the highest profile and most                     Who knew they also had the shiny
            Coachella Valley Music & Arts Festival, is a rocker’s paradise in the middle of the California desert.         successful tours in the United States
                                                                                                                                                                             24     gem known as the Gallo Center for
            The three-day mega concert is nonstop with all-star performances on five stages from Prince,                   over the past few years. Gwen Stefani,                   the Arts.
            Roger Waters, Jack Johnson, Portishead, Kraftwerk, the Verve, the Raconteurs, Death Cab for                    Toby Keith, Rascal Flatts, Eric Clapton,
            Cutie, Love and Rockets, My Morning Jacket, Aphex Twin, the Breeders and many, many others.                    Carlos Santana and Jimmy Buffett have                    It’s hard to imagine a room that
            Despite its off-the-beaten-path locale, crowds of upwards of 60,000 people packed the festival for             all traveled with an arsenal of I-Tech                   sees (and hears) as much musical
            a weekend of rock ‘n’ roll. Rat Sound Systems Inc. provided sound reinforcement for the Coachella              8000 amplifiers in tow.
                                                                                                                                                                             28     variety as Berklee College of Mu-
            Festival this year with the company’s Head of Touring Jon Monson in charge of all aspects of                       “Crown has done a great job in evolv-                sic’s Performance Center.
            audio production. A record 19 PM5Ds were used due to the multiple acts performing over five                    ing the I-Tech 8000 into one of the best
            venues, the small footprint of the console and its onboard effects. To rock on, turn to page 20.               sounding, most reliable amplifiers in the                Oklahoma’s new performing arts
                                                                                                                           market                      continued on page 8
                                                                                                                                                                                    center gives NYC and LA a run for
                                                                                                                                                                             30     their money.
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   CoNtENts                                                                                                                                                    JUNE
                                                                                                                                                           2008, Vol. 6.9

               Buyers Guide                                                                         Features
                                                                                         16 Production Profile                                  40 Welcome To My Nightmare
What’s hot

                                                                                         When your client is the Pope, the pressure is          This Harvard University sound guy dreams of
                                                                                         on. The crew at Yankee Stadium, St. Joseph’s           mixing for a rock band. Find out what hap-
                                                                                         Seminary and Nationals Stadium had the gig             pens when he ditches academia for a chance
                                                                                         of their lives during Pope Benedict XVI’s visit        at the rock ‘n’ roll lifestyle.
                                                                                         to the U.S.
                                                                                                                                                42 Regional Slants
                                                                                         20 Coachella Valley Music & Arts                       AVI of Johnson City, Tenn., may be a small
                                                                                            Festival                                            town AV company, but it just had the gig of
                                                                                         With three days jam-packed with concerts               a lifetime.
                                                                                         on five stages entertaining a crowd of
                                                                                         60,000 people, welcome to the king of the
               For the budget-conscious among us, this month’s
                                                                  34                     alternative rock festival — Coachella.

                                                                                         24 Installations                                       44 Bleeding Edge
               Buyers Guide features digital consoles under                              The Gallo Center for the Arts needed a                 The skinny on ribbon mics.
               $50K.                                                                     versatile sound system that could serve an
                                                                                         array of music, from touring Broadway shows            46 Theory & Practice
                                                                                         to symphonic performances.                             Some thoughts on rider-friendly gear.

               FOH Interview                                                             28 Installations                                       48 The Biz
                                                                                         The sound system for the prestigious Berklee           Who’s going to keep the engine of live
                                                                                         College of Music’s Performance Center had              performances running?
What’s hot

                                                                                         to be "beyond reliable."
                                                                                                                                                50 Sound Sanctuary
                                                                                         30 Installations                                       We explore perhaps the most valuable item
                                                                                         Bartlesville, Okla., might not be synonymous           for your church service: the microphone.
                                                                                         with New York or LA, but its cutting-edge
                                                                                         cultural center gives either coast a run for its       52 FOH-at-Large
                                                                                         money.                                                 We take a trip to the “library.”

                                                                                         36 Road Tests                                               Departments
                                                                                         We review the Aphex 230 Master Voice
                                                                                         Channel and Klark Teknik Square One                     4 Editor’s Note
                                                                                         Splitter.                                               5 News
                                                                 22                      38 Product Spotlight
                                                                                                                                                 9 International News
                FOH Mixer Cubby Colby (center) has graced                                                                                       11 On the Move
                                                                                         A plate amp is a plate amp, but great DSP is
                the pages of FOH more times than we can
                                                                                         something else entirely.
                                                                                                                                                12 New Gear
                count. We catch up with him during Latin                                                                                        14 Showtime
                sensation Juanes’ Las Vegas show.                                                                                               41 In the Trenches

             Unity Through Diversity                                         For all those who seek to follow Christ, we should learn       I love reading FOH, as I used to travel, and still
                                                                        from Gandhi's wry statement, "I was almost persuaded            do some, doing contract work for groups and sound
                 As I read your Editor's Note for May, I was dis-       to become a Christian until I met one." BTW, my church          companies. Whether on a Mackie 1604 or a Yamaha
             mayed at the struggle my fellow Christians have cast       is theologically mainstream, yet we use "Jesus Christ Su-       PM1D, I still love the work. Don't get to do it as much
             upon you. You and I have discussed the worship mar-        perstar" and have been known to include Bad Company's           as I used to, but I have a lot more time at home with
             ket at trade shows, and your knowledge of, and com-        "Feel Like Making Love" on a Sunday morning. If you're          my family now. Keep up the great work.
             mitment to, covering the genre are solid. For those        around Atlanta, drop in — you'll feel welcome.
             with a bent toward dedicated worship technology                                                                               Blessings,
             coverage, there are many magazine options such as             Kent Morris,                                                    B.T. Franklin
             Church Production, Technologies for Worship and Wor-          Cornerstone Media
             ship Leader.
                 As a writer for these publications, I understand the       I read with great interest your Editor's Note “Unity            Just goes to show you never can tell...
             scope of their focus while appreciating the broadened      Through Diversity" from the latest edition of FOH. Be-              I was a bit leery of last month’s column, as I fully
             perspective of FOH. Worship techs can glean informa-       ing involved as an online editor for one of the largest         expected to get roundly slammed over it. Instead, I got
             tion from FOH unavailable elsewhere and I am writing       Christian music publications, and dealing with peo-             letters like these and a slew of similar phone calls and
             to let you know we appreciate what you and the FOH         ple who are quick to judge and not very forgiving,              IMs. Guess I am going to have to work harder if I am
             staff are doing. Do not allow a few well-intentioned,      this piece really hit home. I would like your permis-           going to piss people off.
             yet misguided souls to draw you away from covering         sion to pass along the text of your article to some key
             audio the way you see fit.                                 people in our industry.                                            -b
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                                      Editor’s Note
                                                                                                                                 By BillEvans

                                 It’s A Family Affair…
                                                                                                                                                                                          Terry Lowe

                                                                                                                                                                                           Bill Evans

                                          hen the first draft of the       tival Saturday a.m., and then load              But what struck me this time was                      Managing Editor
                                          piece in this issue of FOH on    the ACMs out on Saturday night and         the ver y literal sense of family. I                       Breanne George
                                          the events surrounding the       the other festival Sunday night, they      had people question why I was out
                                 recent visit by the Pope came across      now needed two full crews. Can you         humping gear at 1 a.m. in down-                            Technical Editor
                                 my desk, I freaked out just a little.     say, “labor shor tage?”                    town Vegas on the loadout. Did I                           Mark Amundson
                                     Not because the writer had                It was bad enough that I went          really need the money that bad?
                                 included frickin’ lighting info, but      down to help out and saw at least          The money is nice, and we are get-               Contributing Writers
                                 more because there was a crew list        one local manufacturers rep doing          ting ready to move into a new house             Jerry Cobb, Brian Cassell,
                                                                                                                                                                         Dan Daley, Jamie Rio,
                                 attached that was about three-pages       the same thing.                            with all of the unexpected expenses                   Steve LaCerra,
                                 long and included everyone who                About a week prior to that, I sat      that comes along with that, but the           David John Farinella, Ted Leamy,
                                                                                                                                                                     Baker Lee, Bryan Reesman,
                                 had even thought about working the        down with Cubby Colby to talk about        questioners were right — it wasn’t             Tony Mah, Kevin M. Mitchell,
                                 gigs.                                     his latest endeavor, and he made ab-       about the money. It was about my                      Ken Rengering
                                                                                                                      production family being in a jam
                                 I know that if I am in a jam, the first                                              and needing some help.                                       Steve Jennings
                                                                                                                           Even that super long list of people
                                 folks I call for help will be my production                                          that I referred to at the top of this piece                   Art Director
                                                                                                                                                                                    Garret Petrov
                                 brethren. They are the family I have                                                 represents that family attitude. People         
                                                                                                                      came together on those gigs on short
                                 chosen.                                                                              notice and under very difficult circum-               Production Manager
                                                                                                                                                                                Linda Evans
                                                                                                                      stances and pulled off something close           
                                     Move for ward a week. It is a re -    solutely sure that I talked not just to    to a miracle. And we are running the
                                                                                                                                                                              Graphic Designers
                                 ally busy weekend in Vegas. The           him, but also to his system engineer       list (except the squints — they have                      Crystal Franklin
                                 Academy of Countr y Music Awards is       and monitor guy. “I couldn’t do it         their own damn magazine).                       
                                 in town, which means a plethora of        without these guys,” he said.                   There is a book I read a long time                             David Alan
                                 public and private events surround-           On the other side of the coin, a       ago that had a definition of family in            
                                 ing the awards show. My friends at        soundco owner I know was subcon-           it that had nothing to do with blood                           Web Master
                                 H.A.S. Productions had the Fremont        tracting at a big festival and was pret-   relationships, but with shared experi-                         Josh Harris
                                 Street gig (with multiple stages)         ty pissed when the owner of the main       ence. In other words, there is a differ-         

                                 for the four th or fifth year in a row,   soundco invited him to dinner, but         ence between the family we are born                National Sales Manager
                                 which meant two stages running            did not include his two crew guys.         into and the family we choose. There                   Dan Hernandez
                                 both Friday and Saturday. To fur ther         There were a couple of other ran-      is a T-shirt cliché about a friend bail-            

                                 complicate things, another festival       dom events in the past month where         ing you out of jail after a bar fight,        National Advertising Director
                                 that has been a long-term client was      I saw people pulling together to get       but a brother being in the cell with                Gregory Gallardo
                                 scheduled for the same weekend.           the gig done under less-than-ideal         you because he had your back when
                                 But they switched things up, and in-      circumstances. (OK, when are they          the chairs were flying.                                General Manager
                                 stead of running Saturday and Sun-        ever ideal…) and I have written be-             Corny stuff, but there is a grain                William Hamilton Vanyo
                                 day, they moved to a Friday/Satur-        fore about how it is the people in         of truth to it. I know that if I am in a
                                 day schedule. Bottom line was that        this business that make up the most        jam, the first folks I call for help will                 Business and
                                 instead of using one crew to load         important component. Gear is cool,         be my production brethren. They are                   Advertising Office
                                 the ACMs in on Friday, the other fes-     but people make it run.                    the family I have chosen.                          6000 South Eastern Ave.
                                                                                                                                                                                  Suite 14J
                                                                                                                                                                           Las Vegas, NV 89119
                                                                                                                                                                             Ph: 702.932.5585
                                                                                                                                                                            Fax: 702.932.5584
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                                 4        JUNE 2008                                          

Movement 08 Energizes Crowds with Electronic Music
     DETROIT — Detroit’s Electronic Mu-                this local Detroit event even more suc-       Another ground-stack-
sic Festival has become one of the most                cessful by providing the fifth stage with a   able line array system
anticipated annual events for electronic               made-in-Michigan line array system,” said     by ISP Technologies,
music fans across the globe. Movement 08               Buck Waller, ISP Technologies CEO. “Be-       the Mongoose, was po-
at Detroit’s Hart Plaza is no exception. Be-           ing involved in the DEMF music scene is       sitioned on the edges
tween the excitement of the festival and               a great opportunity to showcase our gear      of the tent pointing
the number of artists who want to partici-             not only on a local level, but internation-   out at the overflow.
pate, Paxahau, producers of Movement 08                ally as well.”                                When      Grammy-win-
– Detroit’s Electronic Music Festival, added               ISP Technologies is supplying 20 High     ning headliner Bennie
a fifth stage and approached ISP Technolo-             Definition Line Array boxes, 18 XMAX 212      Benassi took the stage,
gies regarding outfitting the stage with               subwoofers, and for the DJ on the stage,      the ISP Technologies
pro audio gear.                                        a “Texas Headset” consisting of two High      stage was packed. Se-
     “ISP Technologies is excited to help              Definition 212 Monitors and two XMAX          curity had to be called
make the fifth stage a possibility by pro-             118 subwoofers. The line arrays and sub-      in to keep the people
viding our new High Definition Line Array              woofers were positioned at the edges of       from climbing on the
System HDL4210 for the Detroit Electronic              the tent, pointing inwards to give the        stacks of subwoofers.
Music Festival. We are glad to help make               audience a heart-pounding experience.                                   The ISP Technologies stage at Movement 08 – Detroit’s Electronic Music Festival

Upcoming R.E.M.
Tour Accelerates
Across the Globe
      OXNARD, Calif. — The upcoming world con-
cert tour by R.E.M. will feature EAW MicroWedge
MW12 stage monitors deployed by Monitor
Engineer George Squiers to provide monitor
sound on stage for all band members. Oxnard,
Calif.-based Rat Sound Systems Inc. is serving as
the sound reinforcement company for the tour,
and is supplying 22 EAW MicroWedge MW12
wedges .
      R.E.M. continues to be led by iconic lead
singer Michael Stipe, with Peter Buck on guitar
and Mike Mills on bass. They are supported by
Scott McCaughey as a second guitarist, key-
boardist and utility man, as well as Bill Rieflin on
      “The new EAW MicroWedge is a very loud
and great-sounding design,” states Squiers. “I
love the smooth natural high-end and the amaz-
ing low-end it reproduces. The low-end leaps
and bounds over any single 12-inch design I’ve
run across, competing with and exceeding most
single 15-inch designs. Single source point phi-
losophy also goes very far in my book.”
      Four MW12s will be used for Michael Stipe
at his central stage position, arrayed in an arc
with two for vocals and two for instruments.
Dual MW12s are to be dedicated to Buck, Mills
and McCaughey on the frontline, while Mills also
gets another pair of MW12s at the midstage po-
sition where he plays piano and synth, and yet
another pair at downstage right, a location he
frequents during shows. McCaughey will also
be supplied with another pair of MW12s at his
keyboard position.
      Another pair of MW12 is dedicated to Rief-
lin’s drum position. (“He loves the push we get
out of his kick drum and floor toms in these
wedges,” Squiers notes.) More wedges are in
consideration to be flown at points around the
stage to supply additional fill, with the rated
flytrack incorporated in each MW12 enclosure,
making this much easier as well as far more
stable than other approaches.
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R.E.M. Monitor Engineer George Squiers

                                                                                                                                                    2008 JUNE                         5

                           Stevie Wonder Returns to New Orleans Jazz Fest
                                                                  NEW ORLEANS — More than                  “I have been using DiGiCo consoles       “I like the touch screens very much and
                                                             three decades have passed since          for five years on and off, but specifically   the fact that I can get to any of the band
                                                             Stevie Wonder made a spontane-           for handling the Stevie Wonder tour in-       mixes quickly to make adjustments dur-
                                                             ous appearance at the New Orleans        ear mixes this past year,” says Barnett. “I   ing the show,” he explains. “It has solved
                                                             Jazz and Heritage Festival. This year,   find it to be far superior to some of the     the challenge of being able to customize
                                                             he returned as a headliner at the        other digital consoles I’ve used in the       and change the layout of the desk on the
                                                             rejuvenated post-Katrina fest. Dual      past. We have a large input list and no       fly so that with the touch of one button,
                                                             DiGiCo D5 monitor consoles, under        other console gives me the ability to         I can get to any bank of inputs and out-
                                                             the direction of veteran engineers       house upwards of 80 inputs in such a          puts without searching through menus
                                                             William Barnett and Dwayne Jones,        small frame and good sonic quality with       and layers like some other desks. Also,
                                                             managed Wonder’s extra-long input        ease of use as well.”                         the standalone software allows me to
                                                             list — comprised of personal moni-           Having the ability to customize his       make adjustments to my mix file without
                                                             tor mixes for three musicians, back-     layout as needed without having to            having the console in front of me, which
                                                             ground vocalists, Stevie and floor       delve too deep into digital menu layers is    is invaluable when you’re on the road.
                                                             monitor mixes.                           among Jones’ favorite features of the D5.
                                 Stevie Wonder

                                                                                                                                                      Boston Symphony
                                                                                                                                                      Upgrades Historic
                                                                                                                                                      Concert Hall
                                                                                                                                                           BOSTON — Named after the
                                                                                                                                                      founder of one of the country’s great-
                                                                                                                                                      est symphony orchestras, Higgin-
                                                                                                                                                      son Hall is for more modestly scaled
                                                                                                                                                      events, shows, a cappella singers, so-
                                                                                                                                                      loists, ensembles and meetings with
                                                                                                                                                      seating for up to 600. The goal for
                                                                                                                                                      Boston-based integrator Matrix 1 was
                                                                                                                                                      to convert and upgrade the PA from
                                                                                                                                                      an Announcement system tied to the
                                                                                                                                                      rest of the building to a multifaceted
                                                                                                                                                      audio system with multiple zones and
                                                                                                                                                           As Project Manager Chaz Loews
                                                                                                                                                      points out, “Higginson can be split
                                                                                                                                                      into North and South zones, so we
                                                                                                                                                      built a system for the hall in general
                                                                                                                                                      and for separate rooms at the same
                                                                                                                                                           “We needed clear spoken word
                                                                                                                                                      and high-quality musical reproduc-
                                                                                                                                                      tion,” Loews continues. “So we used
                                                                                                                                                      l6 Martin Audio AQ5s in a distributed
                                                                                                                                                      system with three delay zones so they
                                                                                                                                                      could use a podium or microphone
                                                                                                                                                      anywhere in the room without feed-
                                                                                                                                                      back issues. One room gets six speak-
                                                                                                                                                      ers and the other room gets 10. They
                                                                                                                                                      can play the room any way they want
                                                                                                                                                           “Higginson is a rectangular room
                                                                                                                                                      with columns every 15 feet in either di-
                                                                                                                                                      rection, and we basically put a speaker
                                                                                                                                                      on every column facing to the back of
                                                                                                                                                      the room. All of the AQs are all on arm
                                                                                                                                                      pivots so they can be directed freely.”
                                                                                                                                                           Depending on the event, a stage
                                                                                                                                                      is brought in for the show. The system
                                                                                                                                                      employs a Crestron switching system
                                                                                                                                                      with a touch-screen and presets that
                                                                                                                                                      make it easier to operate with a control
                                                                                                                                                      for volume and selector for Room A or
                                                                                                                                                      Room B, or both rooms combined.
                                                                                                                                                           There are multiple wall inputs for
                                                                                                                                                      mic or line, and a BSS Soundweb is
                                                                                                                                                      used to control and mix the PA with
                                                                                                                                                      a Crestron controller interface. “If
                                                                                                                                                      they need more inputs for a band or
                                                                                                                                                      ensemble group, we bring in a small
                                                                                                                                                      console and just plug into the line
                                                                                                                                                      inputs when we do the sound,” adds
                                                                                                                                                      Loews. “The system sounds great for
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                                                                                                                                                      what we put into it. We used very little
                                                                                                                                                      processing; the AQs really don’t need
                                                                                                                                                      much. It’s a 100-degree box that cov-
                                                                                                                                                      ers evenly, and the transitions are re-
                                                                                                                                                      ally nice.”

                                      6          JUNE 2008                  

                                 Avril Lavigne’s Best Damn Tour Far From Complicated
                                     ORLANDO, Fla. — Avril Lavigne has               Yakabuski has his hands full with mix-
                                 morphed, over the course of a career that       ing and needs a system that he doesn’t
                                 is less than a decade young, from a self-       have to worry about. “The music and musi-
                                 professed skater punk to a newly married        cianship are very different on this tour. We
                                 pop princess with her own fashion line.         have a lot more inputs coming down the
                                 But one thing that has remained constant        snake than on previous tours, especially
                                 is FOH Engineer Jim Yakabuski who has           in the drum department. The amount of
                                 been running Lavigne’s sound since mid-         sound that comes from this band is unbe-
                                 way through her first tour in 2003.             lievable. We only use a couple of electron-
                                     For Lavigne’s latest North American         ic loops in the whole show to fill things
                                 trek, Yakabuski and Orlando-based sound         in a bit. We also have a keyboard player
                                 reinforcement provider LMG Inc. have            for the first time and, again, we now have
                                 chosen to return to an L-ACOUSTICS V-           live keys and effects coming from his very
                                 DOSC and dV-DOSC loudspeaker system             high tech rig instead of coming from a
                                                                                                                                Avril Lavigne in concert on her current Best Damn Tour
                                 — this time supplementing the rig with          sequencer as in past tours.”
                                 the manufacturer’s KUDO enclosures and
                                 new LA8 amplified controllers.
                                     “We have 15 V-DOSC with three dV-
                                 DOSC down speakers per side as mains,
                                 and then 10 KUDO a side as side arrays,”
                                 Yakabuski explains. “We’ve also gone
                                 back to using a center sub cluster, which
                                 has proved very successful for me in the
                                 past. There are 12 subs in a single long
                                 array in the center, with nothing at all left
                                 and right, and only one sub a side about
                                 16 feet off-center to hold up two dV-
                                 DOSC that take care of front-fill require-
                                 ments. My system engineer, Evan Hall,
                                 and I are also driving the whole system
                                 with L-ACOUSTICS’ new LA8 amps, which
                                 are controlled by LA Network Manager.”
                                     While the V-DOSC arrays handle
                                 most of the venue, this side coverage
                                 played a big role in adding the KUDO
                                 arrays. “You have to cover a ver y wide
                                 amount of seats along the side, but you
                                 also have to cover a ver y tall swath as
                                 well. The bottom seats near the stage
                                 can sometimes be only 15 or 20 feet
                                 from the downstage edge while the
                                 top bowl of an arena may be 150 feet
                                 away, so having the flexibility to put
                                 a huge J-cur ve in the array and to be
                                 able to adjust the horizontal coverage
                                 from 55 to 80 to 110 degrees was a
                                 big deciding factor in going with the
                                 KUDO boxes.”

                                                                                                                                                                                                         Ad info:http://
Ad info:http://

                                                                                                                                                              2008 JUNE   7

                                   Beverly Hilton Rejuvenates Glamour of Tinsel Town
                                                                                                         BEVERLY      HILLS,   national Ballroom received an audio make-          stage wall, two at each end of the stage, to
                                                                                                    Calif. — Since opening     over complete with a compact yet powerful          supply sub-bass.
                                                                                                    in 1955, the Beverly       Meyer Sound system designed and installed               The impetus for installing a high-end
                                                                                                    Hilton has been a clas-    by db Integrated Systems (dbIS) of Chicago.        sound system from Meyer Sound came from
                                                                                                    sic Southern California         The Meyer Sound system at the Beverly         AVT Event Technology, the highly creative on-
                                                                                                    landmark,       combin-    Hilton is in a left-center-right configura-        site AV production company, which services
                                                                                                    ing the glamour and        tion with five Meyer Sound MICA line array         all of the hotel’s in-house production needs.
                                                                                                    excitement of Holly-       loudspeakers flown left and right, and four        “For a long time, any performer who played
                                                                                                    wood’s entertainment       M’elodie line array loudspeakers in the cen-       here brought in their own system, because
                                                                                                    industry with the opu-     ter. Two MSL-4 loudspeakers cover sidefill         the house PA was pretty inadequate,” says
                                                                                                    lence of Beverly Hills.    duties, and a pair of UPA-1P loudspeakers          Billy Thornton, AVT’s event production man-
                                                                                                    As part of a spectacular   fills outer areas. Three UPJ-1P VariO loud-        ager. “So, we’ve had the opportunity to hear
                                                                                                    three-year, $80-million    speakers supply delay reinforcement, while         a lot of different systems in this room, and
                                                                                   Beverly Hilton   renovation, the Inter-     four 700-HP subwoofers are built into the          nothing has sounded as good as the MICA.”

                                 Ultra Music Festival Drives the Beat
                                     MIAMI — The 10th Ultra Music Festi-   days to accommodate all of the artists.             festival. According
                                 val in Miami was a Who’s Who of world     Covenant Music and Managing Director                to the event’s or-
                                 renowned DJs and electronic music art-    Alex Vincero employed Powersoft’s 18 K              ganizers, the sound
                                 ists with an expanded schedule of two     Series K10, K8 and K6 digital amps at the           quality provided by
                                                                                                                               Powersoft amplifi-
                                                                                                                               ers in tandem with
                                                                                                                               DAS speakers was
                                                                                                                               exceptional. “Pow-
                                                                                                                               ersoft K amplifiers
                                                                                                                               did a great job dur-
                                                                                                                               ing the Ultra Music
                                                                                                                               Show,” said Ramon
                                                                                                                               Franco, Tech Sup-
                                                                                                                               port for DAS Audio
                                                                                                                               in all Latin America.
                                                                                                                                                      10th Ultra Music Festival
                                                                                                                               “ These are really ex-
                                                                                                                               cellent amplifiers,                                 100.000 people. We got lots of absolute-
                                                                                                                               performing consistently especially at 2             ly positive feedback from our customers
                                                                                                                               ohms in an environment of more than                 about the system.”
Ad info:http://

                                                                                                                                 Battle of the Amps: Sound Image vs. Clair Bros.
                                                                                                                                  continued from cover
                                                                                                                                 today, “ noted Dave Shadoan, president of         Dream Theater tours.
                                                                                                                                 Sound Image. “We have spoken with our                   “The PLM Series makes both business
                                                                                                                                 wallet and with our reputation, and we do         and technological sense for us. Lab.gruppen
                                                                                                                                 neither lightly.”                                 has a long-standing reputation as a manu-
                                                                                                                                      Available in I-T4000, I-T6000 and I-T8000    facturer of reliable high-sonic-quality am-
                                                                                                                                 iterations, the Harman HiQnet-compatible          plifiers,” stated Troy Clair. “Using their recent
                                                                                                                                 I-Tech family has become the tour sound           high-power/high-density FP+ Series ampli-
                                                                                                                                 professional’s de-facto standard amplifier        fiers as a springboard and combining it with
                                                                                                                                 by matching Class-I power, light weight           Dolby’s industry standard Lake processing
                                                                                                                                 and ease of use. Onboard DSP provides a           to create the PLM Series, takes the touring
                                                                                                                                 wide array of signal processing functional-       sound market to the next level. We’ve re-
                                                                                                                                 ity, significantly reducing the need for rack     duced our standard rack size by half, which
                                                                                                                                 components and rack wiring. Onboard DSP           reduces the floor space used near the stage
                                                                                                                                 features 24- bit, 96 kHz A/D and D/A con-         and the truck space used during transport,
                                                                                                                                 verters that reduce DSP noise for quieter         both of which are at a premium. We’ve also
                                                                                                                                 overall performance. I-Tech features peak         significantly reduced the weight. And with
                                                                                                                                 voltage and RMS power limiting for speak-         the PLM’s integration of Dolby Lake process-
                                                                                                                                 er protection and global power supply to          ing, we’ve eliminated the need for a tradi-
                                                                                                                                 deliver maximum power worldwide. The              tional FOH drive rack as well. All this means
                                                                                                                                 model boasts a front panel LCD for diag-          it’s an excellent value move for us.”
                                                                                                                                 nostics and preset selection.
                                                                                                                                      In similar fashion, Clair Brothers Audio
                                                                                                                                 Enterprises will meet their growing power
                                                                                                                                 amplification and loudspeaker manage-
                                                                                                                                 ment needs for the touring division with
                                                                                                                                 Lab.gruppen’s PLM Series Powered Loud-
                                                                                                                                 speaker Management systems. Clair has
                                                                                                                                 already ordered 300 PLM 10000Qs to put
                                                                                                                                 into service worldwide this touring season
                                                                                                                                 and plans to increase this significantly over
Ad info:http://

                                                                                                                                 the coming years.
                                                                                                                                      The first deployment of PLMs are being
                                                                                                                                 used on both the main full-range system
                                                                                                                                 and subwoofers, along with monitors and
                                                                                                                                 side fills, for the upcoming Alicia Keys and      Sound Image President Dave Shadoan beside Crown I-Tech amps.

                                     8       JUNE 2008                                             

The Black Crowes Put On Warpaint
    NILES, I LL . — Currently touring in               guitars, vocals and                                                     en the volume we’re        factor as well. Both onstage and in the
support of Warpaint, The Black Crowes                  drums.                                                                  producing, we need         audience, the pairing is working well —
have shown that they are still, as the                    “Given a choice,                                                     something that steps       it’s providing everything you’d expect in
UK’s Melody Maker once called them,                    personally, I would                                                     out and allows us to       terms of rock ‘n’ roll, along with a little
“the most rock ‘n’ roll rock ‘n’ roll band             put SM57s on ev-                                                        change for solos and       something extra when we need it.”
in the world.”                                         erything,” Scherban                                                     such.”                          Shure Beta 58As got the nod for
    Bringing the sound of Warpaint to                  jokes, adding, “I mean,                                                    Scherban      and       all downstage vocals, which Consalvo
the stage, along with the rest of the in-              ask me how to mic an                                                    Consalvo’s approach        notes were a good choice in terms of
cendiary tunes currently making up the                 elephant, and I’d just                                                  can be heard on gui-       the control they offer him in front of the
band’s live set list, is a task managed                put a 57 on him. First                                                  tar cabinets where         floor wedges found in his monitor rig.
nightly by FOH Mixer Scott “Scoobie”                   and foremost, this is a                                                 their audio alchemy        “We have a special black Beta 58 we use
Scherban and Monitor Mixer Drew Con-                   rock ‘n’ roll band. That                                                combines legendary         for Chris Robinson’s vocals, and start-
salvo. Working in tandem to craft a stage              means they were born                                                    SM57s with Shure’s         ing this year, Scoobie and I went with
plot relying entirely on Shure input, the              and bred with SM57s                                                     KSM27s. “We get            the KSM9 for backing vocals. We like the
pair draws upon an eclectic mix of tradi-              and SM58s. We don’t                                    The Black Crowes a nice, pointy bite        way it reacts with proximity effect, and
tional rock ‘n’ roll microphone elements,              ever want to lose                                                       out of the SM57s,”         given its overall clarity, too, we’re going
along with newer catalog offerings to                  sight of that fact, but at the same time,            Consalvo explains, “and now, with the         to stick with it in this application.”
brew up an infusion of sound rich in                   we want to augment those sounds. Giv-                KSM27s, we’ve added this nice warm

                                                                                       International News

Mayday Extravaganza On                                                                                        Martin Audio Names Co-Director
the Cutting-Edge                                                                                                  Martin Audio’s long-serving Finance
                                                                                                              Director, Anthony Taylor, has been ap-
                                                                                                                                                          and, hopefully, al-
                                                                                                                                                          low me sufficient
                                                       Hardcore acts, including Vince, Korsakoff, Sven        pointed to the role of joint managing       time to assist with
                                                       Wittekind and Angerfist, were experienced to           director, effective immediately.            other LOUD func-
                                                       the maximum by several thousand clubbers.                  The move, welcomed by Martin            tions as well as
                                                            Carsten Eichstädt and Sascha Schmitz, own-        Audio’s     parent    company       LOUD    continuing my fo-
                                                       ers of BLL, supplied a four-point sound system         Technologies, is seen as strategic          cus on our distri-
                                                       featuring six TA-880H mid-highs flown above            succession planning, although current       bution in China.”
                                                       six ground stacked TSW-718 subs each side of           CEO and Managing Director David                 Taylor joined
                                                       the stage. A center bass cluster comprising 12         Bissett-Powell, who recommended the         Martin Audio in
                                                       TSW-718 subs, stacked six high by two deep,            appointment, says he has no thoughts        February      1994 Anthony Taylor
                                                       was also arrayed in front of the stage.                of standing down at present.                having spent his early years in accountan-
 Mayday Extravaganza
                                                            At the rear of the venue, two further PA tow-         “Anthony has worked with me for         cy at Deloitte & Touche. At Martin Audio,
     DORTMUND, Germany — Promoter                      ers featured six TA-890H mid-highs flown above         many years and although he is a well        he was quick to put his training in corpo-
i-motion’s annual Mayday extravaganza draws            five ground-stacked TA-880L lows per side. Two         qualified chartered accountant, he has      rate finance to good use, helping to steer
clubbers from all over Germany to an all-              further TA-880Hs were used for infill, while four      also become very commercial in his oper-    the company through the most prosper-
night feast of cutting-edge music. This year’s         stacks comprising two TA-880L and one TA-              ation within the company. These balanced    ous period in its history, before becoming
event saw a new arena added to the event in            880H each were provided for artist monitors.           business skills mean that he can handle a   one of the successful managing team who
Dortmund’s Westfalenhallen housed with a               Turbosound LMS-D26 controllers took overall            great deal of the day-to-day responsibil-   led the MBO from parent company TC
Turbosound audio rig.                                  care of the system, with amplification for the         ity and future direction of Martin Audio    Electronic, in 2003.
     Effectively divided into four separate areas      system via several racks of MC² amps.
for the event — Arena, Casino, Empire and Fac-
tory — it was the latter in which regular Turbo-
sound users BLL and CE-Veranstaltungstechnik
combined to provide a huge Aspect rig to
ensure the pounding beats of 12 Techno and

Azteca Stadium
Scores a Goal

                              Estadio Azteca Stadium

     MEXICO CITY — With a capacity of over
114,000, Mexico City’s legendary Estadio Azteca
is the fourth largest stadium in the world; its
40-plus year history storied with some of soc-
cer’s most memorable events. Rental company
                                                                                                                                                                                                        Ad info:http://

Producciones Reforma (El Rayo) deployed a
powerhouse Electro-Voice sound reinforcement
system for the shows based around X-Line and
XLC line array systems. Mauricio Alva Hernandez
(of Electro-Voice distributors Gonher, Audyson)
handled the EASE and LAPS 2 system design
and IRIS-Net programming.

                                                                                                                                            2008 JUNE               9
                                           International News

                                 Iron Maiden Soars to New Heights of “Rock Star Cool”
                                     CHESSINGTON, England — Although it is         tion suitable for venues holding up to 50,000                                      mix changes instantly.
                                 not unknown for major bands to have their         people, space is at an absolute premium.                                               With the exception of one out-
                                 own aircraft in which to tour the globe, it is         With his D5 recently updated with the                                         board graphic EQ for drummer Nicko
                                 highly unusual for the band’s lead singer to      latest V4 software, making it even more                                            McBrain’s drum fills, Gonzo is using
                                 be the pilot. Yet this is the case with hard      “monitors-friendly,” Gonzo is running 18                                           just the D5’s internal effects, which
                                 rockers Iron Maiden. As they begin another        monitor mixes for the six-piece band.                                              he’s very happy with. “The effects are
                                 major tour, the ultra-compact size of Moni-            “Maiden are very old-school,” he says.                                        very user-friendly and sound great,
                                 tor Engineer Steve “Gonzo” Smith’s DiGiCo         “The only band member on in-ears is guitar-                                        especially the EQ,” he says. “The built-
                                 D5 console means that there is plenty of          ist Adrian Smith. The rest are all on wedges,                                      in comps and gates also help to save
                                 room onboard for it to travel with him.           with sidefills and a number of full mono mix-                                      a lot of space, which is crucial on this
                                     Touring in a Boeing 757 might seem like       es through speakers placed by the onstage                                          tour. I have just one small rack with a
                                 the height of rock star cool, but as the band’s   ramps, which the band runs around on.”                                             couple of effects for the guitarists, the
                                 Somewhere Back In Time tour rolls through              With the band’s material being consid-                                        receiver for Adrian’s in-ears and the
                                                                                                                                                                                                                Iron Maiden’s Monitor Engineer Steve “Gonzo” Smith behind the DiGiCo D5
                                 India, the Americas and Europe, there are         erably more complex than most non-metal                                            EQ for Nicko.”
                                 certain drawbacks. A major one is that when       fans give them credit for, Gonzo is taking ad-                                         With thousands of fans on the tour,
                                 you are carrying not only the band and            vantage of the D5’s snapshots facility for cer-                                    both old and new, taking up Dickin-                 me,’ the DiGiCo D5 has become an essential
                                 50-strong crew, but also an entire produc-        tain songs, which means he can make major                                          son’s infamous exhortations to ‘Scream for part of the Iron Maiden touring rig.

                                                                                       Sydney Opera House Names Sennheiser
                                                                                       and Neumann Official Sound Partners
                                                                                                                                                                                  SYDNEY, Australia — Sydney                   the best in the industry,” said Sydney
                                                                                                                                                                              Opera House is one of the most                   Opera House Technical Director David
                                                                                                                                                                              famous opera houses worldwide.                   Claringbold.
                                                                                                                                                                              The opera house has now wel-                          For the next two years, Sydney
                                                                                                                                                                              comed Sennheiser and Neumann                     Opera House will be equipped with
                                                                                                                                                                              as sound partners.                               various products from the Sennheiser
                                                                                                                                                                                  “Sydney Opera House has                      and Neumann product range, starting
                                                                                                                                                                              used Sennheiser and Neumann                      with microphones belonging to the
                                                                                                                                                                              microphones since opening its                    professional MKH RF condenser series,
                                                                                                                                                                              doors and is thrilled that both                  including the new MKH 8000 models,
                                                                                                                                                                              companies are now official cor-                  and wired microphones of the suc-
                                                                                                                                                                              porate partners. Using their mi-                 cessful evolution line. The company’s
                                                                                                                                                                              crophones is a unique oppor-                     3000 and 5000 Series systems are also
                                                                                                                                                                              tunity for us to be aligned with                 part of the equipment.
                                                                                     Sydney Opera House

                                                                                   Rod Stewart Performs “Great
                                                                                   Rock Classics of Our Time”
                                                                                       BUENOS AIRES, Argentina — Buenos                                               part of Rod Stewart’s current world tour                  put, B.A.L.S. used both stacked and flown
                                                                                   Aires Live Show (B.A.L.S.) deployed a                                              supporting his latest release Still The                   subwoofers — a total of 32 enclosures
                                                                                   large JBL VerTec system for Rod Stewart’s                                          Same…Great Rock Classics of Our Time.                     — to complement the full-range VerTec
                                                                                   recent concert at Velez Sarsfield Stadium                                                     The concert at Velez Sarsfield                 system. JBL’s new VerTec V4 DSP presets
                                                                                   in Buenos Aires, Argentina. The show was                                           Stadium drew a sell-out crowd of 40,000                   were used.
                                                                                                                                                                      people. To meet Stewart’s concert-rider                       “The system provided very clear
                                                                                                                                                                      specifications, B.A.L.S. used a total of 52               sound with a good, punchy presence,”
                                                                                                                                                                      VerTec line array enclosures. The main                    noted Federico Sainz, chief engineer for
                                                                                                                                                                      left/right arrays featured 14 VT4889-1                    B.A.L.S. “Both of Rod Stewart’s engineers,
                                                                                                                                                                      full-size line array elements per side, with              the FOH mixer and the system engineer,
                                                                                                                                                                      12 VT4889-1 elements per side for outfill                 were very satisfied.
                                                                                                                                                                      arrays. For additional low-frequency out-
                                                                                                                                     Ad info:http://
Ad info:http://

                                                                                                                                                                                                                                                           Rod Stewart’s Buenos Aires show.

                                     10         JUNE 2008                                                
                                                                                                                                                         On the Move

     Aviom has an-                                 past five years. Prior                          man, who rejoined                            tors including Stanal Sound, Pierce-Phelps
nounced the promo-                                 to the Nix Agency,                              Community last                               and, most recently, as VP of Marketing for
tion of Jeff Lange                                 he served as VP of                              year, is an industry                         Lincoln, Nebraska-based Electronic Con-
from consultant li-                                Sales for a national                            veteran with more                            tracting.
aison to consultant                                contracting      firm,                          than 40 years of ex-
liaison & training                                 sales manager for a                             perience in profes-                              Sennheiser
manager. In his prior                              national retail music                           sional audio.                                Electronic Corpo-
position, Lange used                               chain, and has ex-                                  A writer and                             ration announces
his technical exper-                               tensive experience                              journalist, Foreman Chris Foreman            the addition of
                                                                          Daniel Nix
tise and background Jeff Lange                     in film and theatre                             was editor of Sound                          Aaron Berg to its
as a systems contrac-                              technical production and digital music          & Communications magazine in the 1980s,      professional prod-
tor to provide ap-                                 production. This diverse background, com-       and co-author of Audio Engineering for       ucts sales team.
plications support                                 bined with 20+ years of industry relation-      Sound Reinforcement, written with the        Berg now serves as
to contractors and                                 ships, provides Nix broad insight into the      late John Eargle, and widely regarded as     the sales represen-
systems designers                                  A/V marketplace.                                an educational standard. He has also held    tative for the Rocky Aaron Berg
around the world. In                                                                               prominent positions with audio industry      Mountain territory
his new role, Lange                                    Community Professional Loud-                manufacturers, including management          and reports directly to Western Regional
will make use of                                   speakers has appointed Chr is Foreman           positions at JBL, Panasonic and Altec Lan-   Sales Manager Thom Salisbury.
his broad range of                                 to the position of vice president, COO. Fore-   sing, and with major low-voltage contrac-
knowledge to pro- Shawn Stahmer
vide expert training as part of Aviom’s newly
expanded partner support program.
     Aviom also welcomes Shawn Stahmer as
national sales director for the U.S. and Cana-
da. An industry veteran, Stahmer has 17 years
of experience as a product manager, regional
sales manager, national sales manager and
managing director at Shure. Stahmer brings
to Aviom his pro audio industry experience
in strategic planning, business development,
sales management and product develop-
ment. In addition to overseeing sales in the
U.S. and Canada, Stahmer will have direct re-
sponsibility for Aviom’s rep firms in the north-
ern central US and Canada.

    Bosch Communication Systems has
announced the appointment of Daniel Nix
as vice president of Sales — Americas for the
Pro Audio Group.
    Nix previously served as principal of
The Nix Agency, a southwest rep firm, and
has been part of the Bosch family for the

  Alice Cooper
  to Host
  Parnelli Awards
  continued from cover
      With     Coo-
  per’s     involve-
  ment, the Par-
  nellis are giving
  more       money
  to     education
  this year thanks
  to the Parnelli
  Celebrity Clas-
  sic charity golf
                       Alice Cooper
  Proceeds from
  the tournament will benefit Cooper’s
  Solid Rock Foundation, a non-profit
  organization dedicating to reaching
  at-risk teens.
      “The Parnellis are about honoring
  the legends of the live event industry,
  and helping educate the next genera-
  tion of leaders in the field,” adds Lowe.
  “We couldn’t be more pleased having
  Alice Cooper on board for such an im-
  portant mission.”
      The PLSN/FOH Parnelli Celebrity
  Classic will take place on Thursday,
  Oct. 23, at the Siena Golf Club in Las
  Vegas, with the Parnelli Awards Ban-
  quet taking place the next evening
  Friday, Oct. 24, in Las Vegas.
          New Gear

      Allen & Heath ZED 4-Bus Series                                                                    Crest Audio X Series Rackmount Mixers
    Allen & Heath has announced                                                                        Crest Audio introduces the
the ZED-420 (16 mono + 2 dual                                                                      X Series rackmount mixers, the
stereo channels), ZED-428 (24                                                                      successor to the X-Rack Series.
mono + 2 stereo) and ZED-436                                                                       X Series mixers feature the same
(32 channel + 2 stereo) mixers.                                                                    lauded sonic accuracy, quiet op-
Similar to the smaller ZED-14,                                                                     eration and core features as their
the 4-bus series features the                                                                      predecessors plus an updated
same performance DuoPre TM                                                                         circuit design and four new mod-
padless preamp, which is a mi-                                                                     els: the X18R and X20R for mains
crophone circuit and an opti-                                                                      and the X18RM and X20RM con-
mized line input circuit, rather                                                                   figured for monitors. With high-
than one pre-amp handling both mic and line signals. It uses a two-stage design with               end per formance and rock-solid
carefully controlled amounts of gain in each stage, offering high headroom and a low-              construction, Crest Audio X Series
noise, clean signal path. The ZED 4-bus series has a responsive 4-band, 2-swept mids EQ            mixers feature a modular package
with in/out switch, 6 aux sends (2 pre, 2 post, 2 pre/post), 4 sub groups, direct outputs on       coupled with an extensive feature set suitable for vir tually any application. X
each mono channel, separate L, R & M main buses, 100 mm long-throw faders, 2 matrix                Series models are available with up to 14 mono and up to four stereo inputs,
outputs and a talkback facility to auxes or LRM. The connectors are placed on the top sur-         long-throw faders, versatile four-band semi-parametric EQ, channel inser ts and
face for easy plug-in and patching, and the construction, with individual circuit boards           high-quality, low-noise microphone preamplifiers. The X18R and X20R consoles
nutted to the top panel, is identical to Allen & Heath professional touring mixers.                have six configurable aux buses and three main buses that provide many FOH
                                                                                                   mixing configurations, while the X18RM and X20RM have up to 12 mono or six                                                                                stereo mix buses for floor or in-ear monitoring. Integral monitor and tape -level
                                                                                                   outputs provide additional flexibility. The X Series will be available in Q4 2008
                                                                                                   from authorized Crest Audio dealers.
      Radian Audio Apex Series Monitors
    Radian Audio Engineering has
introduced the new Apex Series
of compact stage monitors. The                                                                          Gear Box Pro Cable Cube
Apex 1200 and the Apex 1500
are ultra-compact, low-profile,                                                                        Gear Box Pro’s Cable Cube
two-way floor monitors for                                                                         is a multi-conductor speaker
live performance and installed                                                                     cable accessor y that breaks-
sound applications. The Apex                                                                       out, combines and functions
1200 features Radian’s 12-inch                                                                     as a hi-tech adaptor for Neu-
coaxial speaker with a 2-inch                                                                      trik Speakon style speaker
compression driver, offering a                                                                     cables. The Cable Cube is
90-degree conical dispersion. Power handling is 500 Watts RMS with a frequency response            equipped with fly clip track
of 55 Hz–17 kHz and a sensitivity of 99 dB. The enclosure is 12.5“ x 14.5” x 21.5” and weighs      that allows you to fasten them
56 lbs. The Apex 1500 houses a 15-inch coaxial speaker in an enclosure engineered to be            to trusses and other types
almost half the size of conventional stage monitors without sacrificing performance. Also          of rigging. It functions bi-
incorporating a 2-inch compression driver and generating a 90-degree conical dispersion,           directionally for use as split-
the Apex 1500 offers a power handling of 500 Watts RMS, a frequency response of 45 Hz              ters and combiners. Cable
–18 kHz and a sensitivity of 102 dB. By using coaxial drivers, Radian Audio has been able          Cube products provide the
to engineer the two new Apex wedges with front baffles that are 40 percent smaller than            user with a multi-conductor
most conventional floor monitors. The low-profile cabinets minimize audience sightline             output connection for small temporar y amp racks. Cable Cube Combo/Matrix
interference while the compact form factor reduces the onstage footprint. Constructed              Cable Cube products are designed to increase efficiency of mid-show changes,
from 13-ply 3/4-inch Baltic birch with a sturdy steel front grille, both enclosures incorporates   as well as improved public safety by minimizing potential trip hazards. Cable
a built-in carrying handle plus a hidden cable management system that prevents accidental          Cube products can be put in a rack mount adaptor to increase the versatility of
damage to the twin NL-4 connectors.                                                                the product, allowing the same product to be used in a rack, on stage, etc.                                                                      

      Carvin LSx Series Loudspeakers                                                                    Martin Audio W8VDQ
    Designed to address a wide range of SR ap-                                                         Martin Audio’s W8VDQ
plications, from portable PA systems for mobile                                                    compact, three-way system
DJs and performing musicians through large                                                         combines line array and dif-
venue sound systems, Carvin introduces the LSx                                                     ferential dispersion technol-
Series loudspeakers. Consisting of 17 models,                                                      ogies provide an advanced
10 non-powered and seven powered, the LSx                                                          solution for even coverage
Series includes 18-gauge steel grills, recessed                                                    over wide angles and throw
steel handles, high order, low-loss crossovers                                                     distances. The system has
plus Neutrik Speakon and quarter-inch connec-                                                      been designed to provide a
tors. The LSx Series enclosures are built with                                                     short-throw horizontal dis-
18-mm multiply hardwood and finished with a                                                        persion of 120°, narrowing to
multilayered, catalyzed polyurethane Duratex                                                       100° as the throw increases.
finish designed to withstand the rigors of the                                                     The vertical differential di-
road. Each enclosure is designed, tuned and                                                        rectivity ( VDQ) creates pro-
ported using LEAP software and measured with                                                       gressively more HF output as
LMS software for system performance. Carvin’s                                                      throw distance increases. The
LSx1002 is a 2-way Main/Monitor loudspeaker                                                        resulting dispersion pattern
featuring a 10-inch woofer and a Mylar 1-inch                                                      is designed for covering audiences located on flat or gradually sloping surfaces.
HF driver. The LSx1202 (passive) and LSx1202A                                                      Designed for passive or bi-amp operation, and combining a Hybrid quad 8 in LF
(powered) loudspeaker systems are both 2-way                                                       and MF configuration with quad 1 in HF — all horn-loaded — the system achieves
designs that employ a 12-inch woofer paired with a Titanium 1-inch exit (1.5" VC) HF driver.       a maximum SPL of 131 dB (continuous), 137 dB (peak). Aimed at a wide range of
They can function as stand-alone systems or be coupled with the LSx1801 subwoofer. The             applications, from live and theatre sound to fixed installations, the W8VDQ is com-
LSx1202A incorporates two internal active bi-amped amplifiers plus a 3-band EQ section.            patible with WMX, WS18X and WS218X subwoofers.                                                                                     www.mar

    12        JUNE 2008                                                 
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                                                                                                          California State FFA Leadership Conference                                                            ST

                                                                                              Venue                                     GEAR                                      MON
                                                                                              Selland Arena                             FOH                                       Consoles: Crest X Monitor
                                                                                              Fresno, CA                                Console: Digico D5                        Speakers: Meyer 10-PSM 2, 2-UPM 1P
                                                                                                                                        Speakers: Meyer 22-Milo, 2-Milo 120,      Processing: 2- Yamaha SPX 990
                                                                                              CREW                                      4-MSL 4, 2-DF 4, 8-700HP, 6-UPM 1P        Mics: 10-Shure UHF-R
                                                                                              FOH Engineer: Ryan Wissink                Processing: 1-Meyer Galileo, 2-Yamaha
                                                                                              Monitor Engineer: Josh Powell             SPX 990
                                                                                              Systems Engineer: Ryan Wissink            Mics: 8-Shure Beta 58,1-Beta 87, 4-Beta
                                                                                              Production Manager: Reggie Rush           56, 2-SM 57, 4-SM 81 / 8-AKG C480, 2-C
                                   Soundco                                                    FOH Systems Techs: Miles Berry &          460, 3-C418, 1-D112 / Countryman E6
                                       Live Light
                                                                                              Jonathan Bingman                          Rigging: CM Loadstar
                                                                                                                                        Snake Assemblies: Whirlwind

                                                                                                                                                                                                  S.A.R.A./TEC.DE MTY.
                                   ST                Semana de la Cultura/Representativo Musical
                                 Venue                                        GEAR                                       MON
                                 ITESM                                        FOH                                        Speakers: 4 Electro-Voice PEX
                                 Campus Ciudad de México                      Console: 1 Allen and Heath ML5000          1122, 4 EAW SM12,02 MSL4,02
                                                                              Speakers: 4 Electro-Voice Plasma P-1,4     650P( sidefill)
                                 CREW                                         Electro-Voice Plasma P-2 Self-powered      Amps: 4 Crown IT4000
                                 FOH Engineer: Rafael “Rafa” Juarez           Mics: 14 Shure UHF Beta 87                 Mics: 1 Sennheiser E602, 6
                                 Monitor Engineer: Rafael “Rafa” Juarez       Power Distro: S.A.R.A. Distro              Shure SM57, 4 Sennheiser E604,
                                 Systems Engineer: Raymundo “Angus” Ro-       Breakout Assemblies: S.A.R.A.              4 AKG C451, 4 Shure SM58,8 BSS
                                 driquez                                      Snake Assemblies: Rapco 40 x 8             AR133 D.I.
                                 Production Manager: Eliseo Santillan, Ivan                                              Power Distro: S.A.R.A.
                                 Tour Manager: Adrina Hernandez
                                 FOH Systems Techs: Juan “Pozole” Cruz,
                                 Jose “Pepe” Backle, Roger Tec, Berna Tec

                                                                                                                Tempe Music Festival Featuring                                                                 ST
                                                                                                                My Chemical Romance and Fergie
                                                                                             Venue                                      GEAR
                                                                                             Tempe Beach Park                           FOH                                       MON
                                                                                             Tempe, AZ                                  Console: Yamaha PM-5000, PM5D             Consoles: Yamaha PM-5DRH
                                                                                                                                        Speakers: V-DOSC, SB-218, ARCS, JBL VRX   Speakers: Martin LE-700, L’Acoustics
                                                                                             CREW                                       Amps: Lab.gruppen                         ARCS, dv-SUB
                                                                                             FOH Engineer: Jim Jorgenson                Processing: XTA                           Amps: Crown 24x6
                                                                                             Monitor Engineer: Stew Wilson              Mics: Shure, Sennheiser, Beyer            Processing: PIP2
                                                                                             Systems Engineer: Andre St Pierre. Clay-   Power Distro: Motion Labs                 Mics: Shure, Sennheiser, various others
                  Soundco                                                                    ton Melocik                                Rigging: CM Lodestar                      Power Distro: Motion Labs
                                   Clearwing                                                 Production Manager: Gary Brunclik          Breakout Assemblies: Clearwing VEAM       Rigging: CM Lodestar
                                  Productions                                                FOH Systems Techs: Andre St Pierre,        Snake Assemblies: Radial
                                  Phoenix LLC                                                Clayton Melocik
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                                    14          JUNE 2008                                           
  ST                                MercyMe w/Tenth Avenue North

Venue                                   GEAR                                      Technica 4041, Countryman type85 DI
Fox Cities Performing Arts Center       FOH                                       Power Distro: Motion Labs Custom
Appleton, WI                            Console: Yamaha M7CL-48                   200amp 3 phase, RacPacs and Stringer
                                        Speakers: 14 Nexo GeoS1210, 2 Nexo        Boxes
CREW                                    GeoS1230, 8 Nexo Alpha S2, 4 Nexo PS8,    Rigging: 2 CM 1 Ton
FOH Engineers: Headliner Dustin Reyn-   2 Nexo PS10                               Snake Assemblies: Ramtech
olds, Support Timothy Combs             Amps: 6 Camco Vortex6, 2 Camco Vor-
Monitor Engineer: Headliner Bobby       tex4, 3 Camco Tecton 28.2                 MON
George, Support Todd Behrens            Processing: 4 NX242-ES4, 2 PS10TD-V2,     Console: Yamaha M7CL-48
Systems Engineer: Dan Brown             1 PS8TD-V2                                Speakers: 2 Nexo Alpha S2, 2 Nexo
Production Manager: Wes Amick           Mics: Shure Beta52, Beta91, Beta98d/s,    LS1200, 10 Sennheiser EW300IEM-G2
Tour Manager: Joel Bench                SM57, SM58, SM81, SM86, UHFR-KSM9,        Amps: 4 Camco Vortex6
FOH Systems Techs: Todd Behrens         Beyer M88, Sennheiser MD421, e609,        Processing: 2 NX241, 2 PS15TD-V2
                                        me64/k6, mke44p, Audix D6, Audio

                                                                            Passion Conference Atlanta                                                                    ST
                                                                       Featuring Chris Tomlin and Louie Giglio
                                                             Venue                                   GEAR
                                                             Gwinnett Arena                          FOH                                     MON
                                                             Duluth, GA                              Console: Digidesign Profile             Speakers: Sennheiser G2 IEMs
                                                                                                     Speakers: d&b J12 Line Array - 14 per   Mics: Shure/ Audix/ Sennheiser
                                                             CREW                                    side B2 Subs -12
                                                             FOH Engineer: Jeff Sandstrom            Amps: d&b D12 amplifiers
                                                             Monitor Engineer: Kyle McMahon          Processing: Dolby Lake Processing
                                                             Systems Engineer: Dave Hagar            Mics: Shure, Audix, Sennheiser
                                                             Production Manager: Scott Carter        Snake Assemblies: Whirlwind
  Soundco                                                    FOH Systems Techs: Pete Parenteau
      Sound Inc.

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Venue                                   GEAR                                                                                         shots, horror stories and
Largo Cultural Center                   FOH                                        MON                                              resume highlights! Go to www.
Largo, FL                               Console: Midas Verona 400                  Speakers: EAW JFX560                  
                                        Speakers: Renkus-Heinz Trap40/7CL,         Amps: Crown Macro-Tech 24x6                    to send us your Showtime pics,
CREW                                    CELF 15-2 Subs                             Processing: Yamaha                             Nightmare stories and In The
FOH Engineer: Gary Sastamoinen          Amps: Renkus-Heinz p3500, Crest CA9                                                            Trenches stats. Or e-mail
Systems Engineer: Rob Mondora           Processing: Yamaha, Lexicon, Rane, DBX                                            
Production Manager: Rob Mondora         Mics: Shure, Sennheiser, Audio Technica                                                      for more info. We cover
FOH Systems Techs: Don Short, Scott     Power Distro: Propriotary                                                                            the industry
Dempster                                Snake Assemblies: RSC, Whirlwind
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                                                                                                                         2008 JUNE                 15
            Pope Benedict XVI’s
                         Production Profile

            Massive Mass at Yankee Stadium
            A sacred ceremony in a sacred place pulled off flawlessly.                                                                                                            By KevinM.Mitchell
Doug PoPe

                                                                                                                                                                                                                                          Doug PoPe
            View of the Pope’s stage at Yankee Stadium                                                                                            Co-Producer Patrick Stansfield, Designer Rene Lagler, Production Supervisor Doug Pope

                   ope Benedict XVI came to America in         are about the Pope’s movement, when he’s           to figure out how many hands were needed.                another twisted an ankle. Probably 1,000
                   April, and was astutely handled by the      planning on celebrating mass and security,”        “At any given time during the load-in and                people were in harms way and everybody
                   best, most experienced hands in the         Edgren explains. “The Archdiocese is host-         set up there were 200 to 250 Local #1 hands              could walk out!” he laughs.
            live event industry, from stadium rock to          ing the event, so it mostly involves them,         working on this,” he says. “But the total num-                “It was an amazing team of union work-
            Broadway shows.                                    although, obviously, the Vatican is very con-      ber of people involved was close to 490.”                ers,” echoes Doug Pope. “ IATSE Local #1 espe-
                The Pope’s visit was a six-day series of       cerned about the Mass itself.” Edgren quickly           All involved commented that the plan-               cially and IBEW Local 3 did an amazing job.
            events highlighted by a mass held at Yankee        got on the phone with offices of NYC Mayor         ning was critical.                                       They knew their crafts and they didn’t mess
            Stadium in New York City. It was the fourth in     Michael Bloomberg’s Police, Fire & Special              “First, we had to sit down with all the             around.”
            New York City’s history, but none of the pre-      Events departments to coordinate these im-         people in charge of the individual elements                   They couldn’t mess up the grass, either.
            vious events had as many limitations as this       portant issues. The logistics are daunting —       — the video people, the lighting, the staging,           To protect the sacred greens, they used Terra-
            one. All the talent assembled and tools avail-     for example, consider that almost a thousand       and figure out how many people they each                 plas, a patented system of breathable sheet-
            able had to make up for a considerable built-      buses from all over the country were bringing      needed,” Ellis says. “Then we assimilated all            ing capable of handling light-duty loads, so
            in scarcity: the lack of time.                     people to the stadium for the Papal Mass &         that into a gigantic schedule.” For example,             chairs and people could walk on it, but no ve-
                “The most astonishing thing about the          Concert of Hope, in addition to a huge youth       they figured out that the electric needs re-             hicles. For vehicles, there was Bravomat, “The
            keynote project was that Yankee Stadium            rally at St. Joseph Seminary in Yonkers.           quired a dozen electricians at a certain point,          entire warming track was covered by 1,400
            didn’t open the doors for us until 12:01 a.m.           “We had the right team to do this from        and they needed such-and-such time to make               pieces (at 100 pound per) of 4’ x 8’x 5”-thick
            Friday morning, and by 1 a.m. Sunday, Se-          the very beginning, no question,” Edgren           it happen. “The first five hours were just laying        Bravomat: heavy-duty interlocking modules
            cret Service locked it all down for a security     says. “Having Stansfield and [production su-       the flooring, so we had to figure out what we            capable of supported loaded forklifts,” says
            sweep,” says Co-Producer Patrick Stansfield.       pervisor] Doug Pope in place early, managing       could do while that was happening — in this              Stansfield. “The first 41/2 hours of the load in
            “We’re talking about a total of 49-1/2 hours to    the labor involved and overseeing everything       case, start putting the chairs in and hanging            was just laying that track. So, we really only
            pull this off.”                                    allowed me to run around working with the          lighting trusses off the FOH balcony rails.”             had 45 hours to build the altar and perfor-
                “If we had plenty of time to do it, we         Archdiocese.”                                                                                               mance stage and decorate the stadium.”
            would have done it all a different way,” adds           So many of those in place had worked          Where to Begin?                                               And then there was security: Stansfield
            Scenic Designer Edward Pierce. They didn’t.        with Edgren on the Papal visit in 1995, includ-         “First of all, you pick the captains, the           points that every single person involved, and
                But they did have Stig Edgren.                 ing Stansfield and Doug Pope. “The Arch-           heads of the departments, and that was very              those attending the event, had to submit
                                                               diocese had complete trust in me as far as         important to us,” Ellis says. “It was important to       “name, Social Security number, birth date,
            First Call                                         bringing people on board for this,” he says.       us that they be the best because they had to             place of birth, and all were duly screened. All
                Executive Producer Stig Edgren, of SEG         “They didn’t question my choices of vendors,       go reach out to their best workers.” Ellis stress-       80 trucks were scanned electronically, and
            Events, is a steady, experienced hand at this.     because they knew I was picking the best           es that the best were found in the unions. “Of-          laminated passes for the crew were distrib-
            He handled Pope John Paul II’s visit not only      people in the business.” One new aspect was        ten times there are critics of union labor, but          uted daily and never left the stadium.”
            in 1995, but also handled papal duties go-         bringing in Ken Ashby, who produced the            in our instance, only by using union workers
            ing back to 1987 when the Pope celebrated          pre-Mass show, and Danny Ezralow, who di-          were we able to accomplish what we needed                Hearing the Spoken Word
            Mass in Los Angeles. So with the trust built up    rected it. The Concert of Hope featured per-       to do. So in addition to union stagehands and                “The biggest concern was the sound —
            and a proven record of delivery, it’s not sur-     formers such as Harry Connick Jr., Jose Feli-      technicians, we also used teamsters to load              that’s what had me tossing and turning at
            prising that he was turned to once again for       ciano, among others.                               and unload the trucks. We had 70 or 80 trucks            night,” Edgren says. His call went to Clair Bros.,
            this Mass. It’s also not surprising that so many                                                      to unload, and we were very happy with their             and was picked up by Ralph Mastrangelo, ex-
            of the principal players he assembled had          Look for the Union Label                           professionalism.”                                        ecutive vice president of touring. A long time
            worked on previous Papal events as well.                Hudson Theatrical Associates was given             Impressively, it was all done safely, too:          friend and associate of Edgren, he had a his-
                For this April 16 event, Edgren got the        the daunting task of putting together the en-      “With all the people involved, we had two                tory of working on big events with him.
            call from the Archdiocese of New York in           tire labor force. Hudson’s Sam Ellis was the la-   very minor accidents: One stage hand slightly                Looking back in hindsight, Mastrangelo
            September. “The beginning conversations            bor supervisor, and says it was a long process     sliced a finger requiring a few stitches, and            seems to appreciate the task more even more

                 16           JUNE 2008                                               
                                                                                                                              Doug PoPe
                                                                                                                                                               The “Other” Gigs
                                                                                                                                           St. Joseph’s Seminary                      “We integrated the PM5D through the
                                                                                                                                                Imagine a four-person crew con-       Studer console where everything was
                                                                                                                                           trolling sound for thousands in a rather   stored in snapshots. The unique snap-
                                                                                                                                           unconventional venue — not to men-         shot capability of the (Studer Vista 5)
                                                                                                                                           tion your client is the Pope. No pres-     made it easy to recall each artist.”
                                                                                                                                           sure or anything. That was precisely           The event also employed Crown
                                                                                                                                           the case with Maryland Sound Interna-      I-Tech amps and a mix of Shure and
                                                                                                                                           tional’s (MSI), role as soundco for Pope   Sennheiser microphones. The Pope
                                                                                                                                           Benedict XVI’s visit with seminarians      requested a specially designed Audio-
                                                                                                                                           and disabled youth at St. Joseph Semi-     Technica mic, Beck reports.
                                                                                                                                           nary in Yonkers, N.Y.                          “I have to say it was an amazing op-
                                                                                                                                                “As far as my crew at MSI, it was     portunity to mix for the Pope. I know
                                                                                                                                           only four of us,” says Lead FOH Engi-      he’s an amazing man with a lot of his-
                                                                                                                                           neer Ryan Beck. “We had some help          tory behind him,” Beck says. “It was
(L-R): Clair Brothers’ Mike Wolf, Gaffer Tom Blancato, Lighting Designer Alan Adelman, Programmer/Operator Paul Sonnleitner                with the local crews, but most of the      definitely a worthwhile experience for
                                                                                                                                           work was done on our end. “It was one      me.”

                                                                                                                              Lyn Parker
                                                                                                                                           of the most difficult gigs to keep track
                                                                                                                                           of since a lot of performers came in at    Nationals Stadium
                                                                                                                                           the last minute.” In addition to Beck,          As the first non-Baseball event for
                                                                                                                                           the MSI crew consisted of Monitor En-      the brand new Nationals Stadium and
                                                                                                                                           gineer Mickey Beck (Ryan’s brother),       the initial step of a high-profile jour-
                                                                                                                                           Patchman Chris Hall and Lead Patch-        ney across the Eastern U.S., the Papal
                                                                                                                                           man Travis White.                          Mass in our nation’s capital presented
                                                                                                                                                After leading Mass at St. Patrick’s   a unique set of challenges for MHA Au-
                                                                                                                                           Cathedral in New York City, the Pope       dio.
                                                                                                                                           spoke at a youth rally featuring 22             Asked about producing audio at
                                                                                                                                           performances on the grounds of the         the beautiful and elegantly propor-
                                                                                                                                           seminary. Performances ranged from         tioned stadium with its own state-
                                                                                                                                           national to regional acts including mu-    of-the-art system, MHA Audio Owner
                                                                                                                                           sicians, choirs and dance acts leading     Mike Scarfe explains, “We couldn’t
                                                                                                                                           up to the Pope’s appearance. Perfor-       use the existing audio system be-
                                                                                                                                           mances began at 10 a.m. and lasted un-     cause, as with all stadiums, the sound
                                                                                                                                           til about 4 p.m. when the Pope arrived     comes from above and behind the
                                                                                                                                           during Kelly Clarkson performance of       audience. Since the stage for the
                                                                                                                                           “Ave Maria.” The Pope was on stage for     Papal Mass was at one end, it would
                                                                                                                                           approximately two hours.                   have been impossible to time-align it
                                                                                                                                                The biggest challenge for Beck was    to the stage. We provided sound for
                                                                                                                                           the complexity of the event. “Twenty-      the entire stadium and 47,000 people
                                                                                                                                           two acts are a lot to go through in        from 60-foot towers on either side of
                                                                                                                                           one day,” Beck says. “It was definitely    the stage.”
                                                                                                                                           a stressful experience trying to make           He continues, “Basically, we had a
                                                      More than 50,000 people attended the Papal Mass at Yankee Stadium.                   sure everything went smoothly.”            550-foot throw from the speaker tower
                                                                                                                                                Compared to a stadium venue,          to the farthest seat. Working with Jim
 then when he was in the thick of it. “It was a                tem out on the field was never on the table.                                setting up the audio system on the         Cousins at Martin Audio in the UK, and
 lot of work all the time,” he sighs. “We were                 “The only place left was placing the system                                 grounds of the seminary caused what        using Display software, we were able to
 handcuffed in so many different places.” But                  on the roof of the stage. It’s the first time I’ve                          Beck described as “real estate issues”     come up with optimum angles for the
 he, Mike Wolf, and others on the Clair Bros.                  known that the main P.A. was on top of a roof                               due to the lack of structure to hang the   line array. We had 16 W8L Longbow on
 team just “stared at [the project] for a while                like this — there has been some big shows                                   JBL VerTec line arrays. “We did some       each side firing forward, and 12 W8LCs
 as we consulted with the guys at Mountain                     where some speakers would be placed on a                                    speaker hangs from the stage and we        a side, firing sideways. Then, six W8LCs
 Production.”                                                  roof, but never the entire P.A.”                                            also hung speakers off four self-stand-    firing to the rear of stage left.
      Quickly, they concluded that they had                         Up on the roof was a six-column Clair                                  ing poles we set up,” Beck reports.             The total speaker complement in-
 to put the main speakers on the roof and                      Bros. i4 system.                                                            “With a 8-feet-by-8-feet footprint, they   cluded 32 Martin Audio W8L Longbow
 hang some line arrays (but not too many less                       The sheer size and weight of going this                                are very low profile.” In total, system    cabinets, 30 Martin Audio W8LC, six
 sightlines to the Pope be obscured). With no                  route was something the team took very se-                                  setup took five days including a full      Martin Audio WSX subs and two Martin
 room for error, and certainly no real sound                   riously. “We worked with Mountain Produc-                                   day of rehearsal. Each act had about 45    WT3s.
 check or rehearsal, he says they flew by pure                 tion to make sure the staging could take the                                minutes to go through soundcheck on             “It wasn’t just about clear spoken
 experience and AutoCAD. “We’ve done this                      weight, plus handle hanging some smaller                                    the day of rehearsal and the morning       word reproduction because on stage
 long enough that once we came up with a                       line arrays below for the Cardinals and Bish-                               of the event.                              right behind the speaker tower we had
 plan, we knew it was going to work.” He too                   ops on the ground.”                                                              The seminary grounds are approxi-     a 700-member choir and an orchestra
 credits Edgren, Stansfield and Doug Pope                           No details was left unresolved: Sure,                                  mately 500 feet wide by 900 feet long,     of 50. The program started at 5 a.m.
 with putting together an incredible team of                   it’s one thing to put speakers on top of the                                a large space for the sound system to      once the gates were opened and there
 people. “Everyone brought their ‘A’ game,”                    roof of a temporary stage, but you can’t just                               cover. “It’s easier than a stadium show    was a variety of entertainment includ-
 Mastrangelo says.                                             have the traditional speaker covering left…                                 because you don’t have to deal with        ing notable opera singers Placido Do-
      Clair Bros. Lead Audio Designer Mike                     uncovered. Doug Pope points out that they                                   echoes. As long as you’re aiming in the    mingo and Denyce Graves up to the
 Wolf has a long history of working on all                     painted the grills gold to match the overall                                right areas, you can get a nice, even      start of the Mass at 10 a.m. The choir,
 things religious. He worked on Pope John                      color scheme of the event. The grills of the                                coverage throughout the whole field,”      cantors and orchestral accompaniment
 Paul II’s visit to St. Louis’ Busch Stadium in                hung line-arrays were covered in white fab-                                 Beck notes.                                continued throughout the Mass until
 1999 and also has been involved with proj-                    ric.                                                                             The sound system consisted of a       noon.”
 ects for the Greek Orthodox Archbishop                             “We didn’t want people out of sync,                                    cluster of eight JBL VerTec 4889s aim-          The MHA crew consisted of FOH:
 Christodoulos, Sun Myung Moon and Billy                       so Clair Bros. came up with an ear monitor                                  ing outward with an in-fill cluster of     Zane Marshall, assisted by Peter Ma-
 Graham. He was there for the first site meet-                 for everyone performing and that way the                                    four 4889s on the main and delay poles,    her; Monitors/Orchestral Stage: David
 ing back in November for this event.                          choirs and orchestras could all stay locked                                 eight 4889s suspended on the left and      Colella, assisted by Tom Buckley and
      “The biggest challenge was the logisti-                  into the same beat,” Edgren adds.                                           right of the stage and a center cluster    Monitors/Entertainment Stage: Gavin
 cal problems of the stadium of not being al-                       “The biggest drawback was the lack of                                  of six JBL VerTec 4887s. The system was    Pearce, assisted by Bruce Coffman.
 lowed on the grass, so everything was built                   time to set up,” Wolf sums up. “And it’s tell-                              run from a Studer Vista 5 digital con-          Asked about the audio results for
 or bridged directly between first and third                   ing that it took three days to load out the                                 soles at front of house and monitors. A    this historic event, Scarfe concludes:
 base, the Papal Throne being roughly over                     audio!”                                                                     Yamaha PM5D was also used at moni-         “The client Showcall, an event produc-
 second ” Wolf explains. “The performance                                                                                                  torland for bands who had requested        tion company specializing in large for-
 stage was on home plate, and the orchestra                    Pope on the Pope                                                            it.                                        mat, high threat events, was very happy
 and choir were between home plate and the                          Doug Pope, who has a 30-year history                                        “The most difficult thing was to      with the sound. We received positive
 foul ball net.”                                               with Edgren, and also worked with him on                                    make 22 acts work through one con-         comments all around; everybody was
      The keep-off-the-grass mantra highly                     the 1995 Papal event, said early on a key                                   sole at each mix position,” Beck says.     impressed.” — Breanne George
 influenced the system they designed for it,                   factor was bringing in Hudson Theatrical
 as say a Super Bowl Event, carting the sys-                   Associates. “Neil Mazzella and Sam Ellis put

                                                                                                                                                                       2008 JUNE               17
            Production Profile

                                                                                                          Lyn Parker
                                                                                                                         Bird Watching
                                                                                                                              “The icing on the cake was the release of several hundred live doves of peace,” says
                                                                                                                         Stansfield. “It was done in coordination with the 150 kids running and circling the stadium
                                                                                                                         track with faux flying doves made of lightweight foam, and each attached by a lead to
                                                                                                                         fishing poles. At a dramatic point, we released these 200 live doves that circled the stadi-
                                                                                                                         um twice and then flew back to their home in New Jersey just like they were suppose to.”
                                                                                                                              A word about the doves… those jaded by the technological achievements pro audio,
                                                                                                                         lighting and video will surely be dazzled by this: Basically, there is such a thing as advance
                                                                                                                         team of doves, made up of a lead dove who calls the shots, and some dutiful lieutenants.
                                                                                                                         They were brought to the stadium about a week before the big event. They checked out
                                                                                                                         the stadium, and then the lead dove circled the stadium twice and flew back home, lieu-
                                                                                                                         tenants in tow.
                                                                                                                              On the day of the big event, a couple hundred other doves were released with them,
                                                                                                                         and following the team leader, executed their assignment with aplomb.
                                                                                                                              Were these doves in the union? What is in their rider? And how does one get to be the
                                                                                                                         lead dove — is it based on merit and hard work, or just a matter of how you coo?
                                                                                                                              Producer Stig Edgren chuckles and sighs. “Oh yeah, there were a lot of dove jokes
                                                                                                                         — even the secret service guys got on it saying they needed to frisk ‘em and check their
The line array wore white.

 together a crack labor team, starting with                      spaces to put things!” he laughs.                     Final Thoughts                                          Again and again, when summing up
 scores of department heads.” How impor-                              Looking over the creative team’s                     Edgren says he would have liked to            the success of the event, everyone comes
 tant was this gig? “People dropped out of                       shoulder the entire time, of course, was              see the young people who ran around               back to teamwork.
 their Broadway shows to do this.”                               the Yankee Stadium grounds crew, mak-                 the stadium track with the foam doves go                “I had the best team in the world,”
     For Doug Pope, spreading the work                           ing sure nothing damaged the play. As                 running out on the field for “just one mo-        Edgren says. “They surrounded me, pro-
 around as much as possible was going                            intrusive as that sounds on paper, Doug               ment right before the Mass, but it was just       tected me, and I was honored to be part of
 to make this event a success. “We didn’t                        Pope assures that they did their job with             something that didn’t get asked in time.”         it. It was magical.”
 want to wear people out — just the [de-                         professionalism and respect for what the                  Composer Benoit Jutras was brought                  Kudos and shout-outs go to those of
 partment] heads!”                                               team had to do.                                       in to compose special music for the event.        a Higher Power, too. The weather, for ex-
     After the first site survey way back in                          “People like us, we’re only there a lit-         “He’s very brilliant and quick, and he came       ample, could not have been more perfect.
 the fall, they put together a time line of                      tle bit,” he explains. “But the Yankee Team           up with themes for the opening and clos-          “At the youth rally the day before it was a
 how it would all go down. They knew they                        Personnel have to carry on, and they have             ing that sounded like angels,” says Edgren.       warm beautiful day. Then at the Pope’s visit
 would be starting at midnight, and knew                         a love and respect for their grass, and we            This music inspired Edgren to imagine             to ground zero of the World Trade Center,
 the Bravomats needed to go down quick-                          respect that. Hats off to the Yankees for             doves, and passed the idea along to his           the clouds were dark and ominously low,
 ly and seamlessly in order for the forklift                     all they did, including allowing us to use            creative team. Ezralow, director of the pre-      and it was as if you felt the [victim’s] spir-
 and rest of the worker to be done.                              the team’s locker rooms and everything                Mass show, then asked if they could make          its in the air. That stayed like that through
     “We did have the benefit of a pre-rig                       else.” Everything else included the umps              a moment out of this, and brought in Mi-          Sunday morning, and then when Jose
 day, the Monday before, where we moved                          changing room, which was magically                    chael Curry, a renowned designer known            Feliciano started to play, that’s when the
 in as much equipment as possible, which                         transformed into an elegant room for                  for his work with The Lion King. “He came         clouds broke…
 was still not very much — it is an 87-                          the Pope to vest in (that’s “suit up” to you          up with these doves and the sticks that                 “It was good advance work from God Al-
 year-old stadium and there’s not a lot of                       non-Catholics out there).                             would carry them.”                                mighty!”

                                                                                                          Doug PoPe

                                                                                                                         CREATIVE STAFF FOR THE ARCHDIOCESE                SOUND—CLAIR BROS AUDIO, LITITZ, PA
                                                                                                                         OF NEW YORK:                                      Account Executive: Clair Bros. - Ralph
                                                                                                                         Executive Producer: Stig Edgren                   Mastangelo
                                                                                                                         Co-Producer: Patrick Stansfield                   Lead Sound Designer: Mike Wolf
                                                                                                                         Production Designer: Rene Lagler                  Orchestra Mixer: Doug Nightwine
                                                                                                                         Creative Consultant: Imero Fiorentino             Choir Mixer David Staub
                                                                                                                         Production Supervisor Doug Pope                   Additional Clair Bros. Associates: Tom
                                                                                                                         Pre Mass Show Director: Daniel Ezralow            Huntington, Christopher Fulton, Robert Bus-
                                                                                                                         Pre Mass Show Producer: Ken Ashby                 siere, Kevin Dennis, Anthony Sabao, James
                                                                                                                         Pre Mass Technical Director: Rick Southern        Ward
                                                                                                                         Head Sound Mixer: Howard Lindeman
                                                                                                                         Communications Director: Larry Estrin             LABOR by Hudson Theatrical Associates
                                                                                                                         Production Controller: Mark Aurelio               Contractors/ Labor Supervision: Sam Ellis,
                                                                                                                         Media Director: Maris Segal                       Susan Bristow, Irene Wang-Supervisors
                                                                                                                         Backstage Managers: Scott & Beth Sch-             For IATSE Stagehands Local #1
                                                                                                                         neider                                            Electrics
                                                                                                                         Communications Manager: Pete Erskine              Jimmy Maloney: Head Production Electri-
                                                                                                                         Production Site Electrics: James Eisner           cian
                                                                                                                         CAT Event Power head Burt Bracegirdle
                                                                                                                         Lead Production Coordinator: Dennis               SOUND
                                                                                                                         Mennard                                           Head Production Sound: Tommy Arrigoni
                                                                                                                         Media Project Coordinators: T.J. More-            Assistant: Rich Gilmour
                                                                                                                         house & Nancy Shefts
                                                                                                                         Traffic Manager: David McDaniels                  LOAD MASTER/FORKLIFT CREW
                                                                                                                         Runner: Jedi Keith                                Head: Pat Quinn
                                                                                                                         Crew Caterer: Gordy Hebler, Full Plate Cater-
                                                                                                                         ing Inc.                                          TEAMSTER
                                                                                                                                                                           Head: Vinny Russo
                                                                                                                         FOR YANKEE STADIUM:
                                                                                                                         Yankee Stadium Operations Mgr Doug Behar          LOCAL ONE STEWARD
                                                                                                                         Yankee Stadium Superintendent Pete Pullara        Head: Dan Gilloon
                                                                                                                         New York Police Department Capt. Drew
                                                                                                                         Kastner                                           REHEARSAL STUDIO & MUSIC RENTALS
                                                                                                                         Head Yankee Stadium Electrician Fran              Studio Instrument Rentals: NYC Bo Holst,
                                                                                                                         Ninivaggi                                         Carly Vena, Erik White
Clair Bros. speakers in place on the Mountain Productions roof

   18            JUNE 2008                                                            
Ad info:

                                                                                                                                                                                                          Rat Sound
Three Days, Five Stages, 60,000 People, 100+ V-DOSC boxes and 19 PM5Ds

By Thomas Freeman

   n its ninth year, the Coachella Valley Music    Cool Kids, Does it Offend You, Yeah?, Enter        Monson in charge of all aspects of audio pro-     nice, compact size of the 5D saves on real es-
   & Arts Festival — located in Southern Cali-     Shikari, Sons & Daughters, Minus the Bear, Sia,    duction. “We decided to use Yamaha digital        tate offering more room at the mix positions
   fornia’s desert town of Indio, 125 miles east   Calvin Harris, Spank Rock, dan le sac Vs Scroo-    consoles across the board so that engineers       for bands’ carrying their own production.”
of Los Angeles — the king of the American al-      bius Pip, Boys Noize, Diplo, Junkie XL, Black      could send in their files ahead of time and           Jamie Harris was FOH engineer for
ternative rock festivals took place April 25-27    Mountain, Adam Freeland, Annuals, Cine-            have their show come up easily," says Mon-        the Outdoor Stage and Dustin Delkar han-
with attendance reaching 60,000 on each of         matic Orchestra, Santogold, Jens Lekman, Kid       son. Ronnie Kimball, front of house engineer      dled monitor duties. Jim Jorgenson han-
the three-day mega concerts.                       Sister with A-Trak, the Teenagers, John But-       for the Sahara Dance Tent, says he ‘likes con-    dled front of house at the Mojave tent and
                                                   ler Trio, Duffy, I'm From Barcelona, Vampire       sistency and the PM5D gives me that. It's also    Steve Walsh, monitors. The Sahara Dance
All-Star Lineup                                    Weekend, VHS or Beta, Deadmau5, Carbon/            convenient and saves me a lot of time.’           tent was manned by Ronnie Kimball and
    With two stages and three live tents, con-     Silicon, Manchester Orchestra, Dan Deacon,              Lee Vaught and Roz Jones served as           Mike ‘Milk’ Arnold at front of house and
certgoers were treated to an all-star lineup       Erol Alkan, Architecture in Helsinki, Man Man,     front of house engineers at the Main Stage        Chris ‘GGG’ Rymarz at monitors. The Gobi
consisting of second night headliner Prince        Sandra Collins, Yo! Majesty, AUSTIN TV, Busy       with George Squiers and Shaun Sebastian at        tent was manned by Chris “Hoover” Rankin
performing at the Empire Polo Field, Roger         P, Little Brother, Cut Copy, Shout Out Louds,      monitors. Squiers is also monitor engineer        at FOH and Jared Woods at monitors.
Waters, Jack Johnson, Portishead, Kraftwerk,       Bonde Do Role, Plastiscines, Black Lips, St.       for R.E.M. “The Yamaha 5D was a great festi-          Rat Sound used L-ACOUSTICS V-DOSC,
the Verve, the Raconteurs, Death Cab for Cutie,    Vincent, Brett Dennen, Datarock, Akron/Fam-        val console for the Coachella main stage,” he     dV-DOSC for three of the five biggest stag-
Love and Rockets, My Morning Jacket, Aphex         ily, MGMT, Professor Murder, Surkin, Para One,     says. It’s not complicated, which means it’s      es, with L-ACOUSTICS Kudo in the Mohave
Twin, the Breeders, Justice, Café Tacvba, Fat-     Orgasmic Curses, James Zabiela, the Bees, Se-      easy for engineers to walk up and use. Storing    and Rat Trap 5 in the Gobi tent. Rat Sound
boy Slim, Spiritualized, Tegan and Sara, Gold-     bastiAn, Kavinsky, Porter, Rogue Wave, Dredg,      sound checks scene-by-scene delivers awe-         also provided an eight-tower surround
frapp, Serj Tankian, the Swell Season, Sasha       the Bird and the Bee, Yoav, Modeselektor,          some recallability for changeovers. The idea      sound system for Roger Waters consist-
& John, Digweed, Gogol Bordello, Rilo Kiley,       Grand Ole Party, 120 Days, American Bang,          of e-mailing a file ahead of time is great for    ing of 48 L-ACOUSTICS V-DOSC and 12 dV-
Chromeo, Dwight Yoakam, M.I.A., the Nation-        Luckyiam, Electric Touch, Yelle, Uffie featuring   bands already set up to use the 5D. A simple      DOSC for the Sunday evening headliner.
al, Metric, Hot Chip, Cold War Kids, Animal        DJ Mehdi, Lucent Dossier, Do LaB.                  soft patch lines things up nicely for a festi-    The EAW MicroWedge 12 made its debut
Collective, Kate Nash, Múm, Slighty Stoopid,                                                          val patch. Being that all the dynamics are on     at the festival. “It’s little, it’s light, and it’s
Stephen Malkmus & the Jicks, Above & Be-           All-Star Crew and Gear                             board and you have access to them on every        loud. It sounds awesome!,” commented
yond, Danny Tenaglia, Pendulum, DeVotchKa,             The decision to use PM5Ds (19 on one gig       channel there is no need for racks and racks of   Tony Luna, who was taking time out of his
Booka Shade, Simian Mobile Disco, Sharon           — a record!) was made due to the multiple          processing, which eliminates hard patching,       monitor engineer gig for KISS and Trans Si-
Jones & the Dap-Kings, Murs, Stars, Flogging       acts performing over five venues, the small        saving time and helps avoid crosspatches that     berian Orchestra to be Rat crew chief for
Molly, Mark Ronson, Redd Kross, Dimitri from       footprint of the console and its onboard ef-       could cost precious minutes during a change-      the Outdoor Stage. “By the feedback we
Paris, Battles, Autolux, Aesop Rock, the Field,    fects. Rat Sound Systems Inc. provided sound       over. The same is true of the great sounding      received from the different bands and en-
Les Savy Fav, Scars on Broadway, Linton Kwesi      reinforcement for the Coachella Festival this      onboard effects to choose from, internally        gineers, it definitely was used with great
Johnson, Midnight Juggernauts, Islands, the        year with the company’s Head of Touring Jon        eliminating the need for outboard racks. The      success.” The microphone arsenal con-

 Chris “Hoover” Rankin, FOH engineer at                                                               FOH Mixer Derek van Nord at the Coachella
 the Gobi tent.                                                                                       Festival

    20            JUNE 2008                                               
    “We    decided    to  use

                                                          Yamaha CommerCial audio SYStemS, inC./VertiS, inC.
    Yamaha digital consoles
    across the board so that
    engineers could send in
    their files ahead of time
    and have their show come
    up easily.” — Jon Monson

sisted of Shure, Sennheiser, Neumann,
AKG, Audio-Technica, Audix and Beyer.
Crown and L-ACOUSTICS amps were
used throughout.

Dirty Hands Caravan
     On the morning after the final day of
the Coachella Valley Music & Arts Festival,
a caravan of bio-diesel buses transporting
up to 300 people drove 1,800 miles in an ef-
fort designed to engage a new generation
of activists. The Dirty Hands Caravan, as it is
known, is the coming together of individu-
als who get involved by building houses
for the homeless, protesting the war in
Iraq while supporting the needs of veter-
ans and their families, caring for the sick or
needy, cleaning up parks or neighborhoods
across America, taking part in clean water
initiatives for foreign lands and engaging in
whatever way they feel compelled to help
others. The caravan, which is the brainchild
of actor Sean Penn, made stops in numer-
ous cities when it arrived at its final desti-
nation, New Orleans. The spirit of Coachella
joined in on the close of the New Orleans
Jazz & Heritage Festival to help better the
Big Easy through their good works.

For a complete gear list from Coachella visit

                                                                                                               Ad info:http://

        Nineteen Yamaha PM5D-RH digital audio con-
        soles were used for front of house and monitors
        at the Coachella Valley Music & Arts Festival.
            FOH Interview

                                                                                                                                                         By BillEvans
                                                                                                                                                         Photos By LindaEvans

       ans of Saturday Night Live (I know you gig       Now, I'd never heard of this guy.                      This is a pretty long tour…                          that maybe we should have added a few more
       on Saturday nights — that’s what Tivo is              He's been around. He's 35, this is his fourth          There weren't too many artists I would          sub boxes. "I'll be right back," the guy says, and
       for) will recognize the skits that all play on   album, he's got 12 Latin Grammys, and he’s             have gone out on such a long tour with, but I        he goes back and resets some amplifiers. Con-
the “competition” between certain hosts for the         got quite a few accomplishments. He's got the          did say that if I got the call from Juanes again I   sequently, the software shuts down and he
record of who has hosted the show the most              12 Latin Grammys, and with this new album,             would, and lo and behold, last July I got a call.    comes back and I'm waiting and waiting, and
times. Here at FOH, it is pretty rare for us to fea-    the one that we're touring with right now, he's        So I actually started this in August of 2007 be-     he goes, "OK guys, let's play the song again."
ture an engineer in the FOH Interview slot more         probably going to have another three or four           cause I did all the promo all through Christ-        I bring the band, VCA up, and he says, "I gave
than once. I can only think of three: John Cooper,      under his belt by the next Latin Grammys. He           mas into January and February; we started            you 3 dB more," and I know that 3 dB should be
Big Mick and Cubby Colby.                               just got recognized by the Billboard Awards            rehearsals in March, and here we are in May.         like twice the amount but never has been — I
     Cubby is someone we could feature a dozen          for the Humanitarian Award. We just did the            We're about 20 shows in, and we have about           mean, when's the last time you ever got that?
times and still not get the entire story. For those     Nobel Peace Prize concert, and he did that two         10 more in the States and then we start up in        And this is when I got educated on what hap-
of you unfamiliar, the short version goes like this:    years in a row. He has a foundation for all the        Europe and we're over there for eight weeks.         pens with this technology.
Genesis and Phil Collins, Grammy Awards house           underprivileged children in Colombia. He's
mixer for years, more tours with Prince than any        very human. He's the songwriter, the lyricist,         He's a much bigger deal outside the U.S.?            What kind of mix are you going for?
other mixer alive and a ton of other stuff.             the musician… that's why I feel really privi-               We do six weeks in Spain alone, and ev-              Well, it is in your face, but it's more of an
     Back when he was still doing the Grammys,          leged to be here, and that's what attracts me.         erything is sold out. It's mega-outdoor bull-        impact sort of a mix and this is what he really
he mixed Ricky Martin for the award show and            People are like, "Cubby! Why more and more?"           rings and the Barcelona room and the Madrid          likes. And I could feel it, but I wasn't battling
was asked to do his tour. With some time on             This guy, for me, is a wonderful replacement           arenas and so on and so forth… And then, it's        it onstage. Well, there's this whole cardioid
his hands, Cubby agreed, and no one had any             for some of the other wonderful people I had           like the Beatles because when we were doing          sub bass approach that keeps all of this off
idea just how big Livin’ La Vida Loca would get         the opportunity to work for.                           the promotional stuff, I never expected Hel-         the stage and really cleaned up his ear mix. The
or how it would usher in a new generation of                                                                   sinki, Finland, to have 3,000 people wanting         same consoles, same guys, same ear molds —
Spanish-speaking artists. And all of them —             BE: And you worked with Prince, Genesis…               to come to see Juanes. We played a 700-seat          different P.A. — he's having a great time, and
from old-schoolers like Luis Miguel to young-               Two live albums with Genesis, a live al-           place, and they turned away 2,000 people.            having a much easier time finding pitch and
sters like Shakira wanted the guy who mixed             bum with Phil… I basically did 10 years with           Same thing in Zurich, Switzerland. Same              so on and so forth. Granted, this is early on
Ricky behind their board, too. As a result of that      Phil and Genesis, and then he got ill, and ev-         thing in London. Same thing in Paris. It was a       in the tour, so they're starting to get really
desire and Cubby’s unbelievably good chops,             erything just stopped. I've never been one to          small, condensed band — Juanes; the drum-            acquainted with this other system. We do an-
he has been doing Latin artists almost exclu-           fear when the phone's not ringing, but when            mer playing some percussion, and Toby, the           other with it and, you know, I'm asking more
sively for about a decade.                              you've had such a long run with people, you            acoustic guitar player on stage left, and Eman-      and more questions, never to think that this
     We caught up with him on a Las Vegas tour          need to move on. And it all came about in a            uel, the keyboard player. It was just those four,    would be something that's going to fall in our
stop for Colombian rocker Juanes. An artist I           funny way. I mean, Phil ended, and I'm mixing          and Eva, Fernan the Manager and myself, and          lap, and lo and behold, management and the
had never heard of, but who has won a dozen             the Grammy Award shows at the time, and                I was the monitor guy, the front-of-house guy,       artist were extremely pleased, as I was and ev-
Latin Grammys, fills 100,000+ seat stadium              now I'm off doing Ricky Martin stuff because           the guitar tuner — but that's OK. The guys re-       erybody else that was there with the system,
shows throughout Europe and South America,              of the Grammys, so one door closed and an-             ally understood me. They knew I was doing            so we decided to give it a go. We took bids
and who had pretty much every member of the             other door opened, and you go down that                gigs where the speakers were in the ceilings         from four companies, and it was a really, really
fairer gender — including my photograper/wife           road. I never ever knew how much I would               and the worst you can say is that this isn't go-     hard decision because all of them were very
— dealing with a drooling problem throughout            enjoy doing a tour like that.                          ing to do it, and you turn it down.                  worthy of doing the tour, as you're saying —
the show.                                                                                                                                                           everything out there is extremely good, and
     For this one, Cubby is driving an Eighth           And you've been doing the Latin thing for a            But the tech has changed a lot. I would ven-         we would have been happy with any of them
Day — provided d&b rig with a DiGiCo D5 at the          while…                                                 ture to say that even some of those ceiling-         — it just so happens that…
front end. Musically, it was like going back to the          Since 2000, that's when I was doing the           speaker systems were OK…
‘70s with a guitar player using a real, honest-to-      Livin' La Vida Loca tour, which was almost                  It's like the first time I ever used dV-DOSC    Eighth Day has a d&b rig…
God E-Bow and the keyboard player using a Rho-          18-months long with really nice breaks though.         stuff and said, "It's not going to happen." And          And Tom did a really good job in the
des, a B3 and a Mini-Moog. The mix was one you          One of the things I kind of like — it's funny —        then you turn it on and it's more than you could     negotiation of the things, equipment spec
never could have heard on the gear of that era.         about Latin artists is that a lot of them don't like   have ever hoped for. Similar thing with the d&b      and so on. It was tough as I had nothing but
It was, without a doubt, one of the best, punchi-       to work in the summer months, so that was nice         stuff. We were doing the promotional part and        really great time with Clair/Showco on the
est, clearest mixes I have ever heard. It was such      for me when my son was at an age when I want-          about 40% of the promotional things we did           last tour, and I'm sure we'll work together
a pleasure to listen to that I stayed for the entire    ed to be around more. And then I just rolled into      involved the entire band. We were down in the        again in the future, but it was more of a art-
show of an artist I had never heard of. (Not that       Shakira, and then Luis Miguel, and then Latin          Mexico City area and we had three full-blown         ist/management vibe that made us change
I could have dragged the photographer away              Grammys. I think the first time Juanes did the         shows where he played for about an hour with         things. And again, the packaging, we can fit
with a tow-truck if I had wanted to leave…)             Latin Grammys I was the music mixer for that,          the full band. And in all three of those shows it    this entire system into two-thirds of a truck.
                                                        and then the second time he came around I was          was a d&b Q series with the B2s. The first night     We have this full system with backline in
FOH: How's your Spanish?                                doing it as well, and I formed this really quick       was 1,200 seats, the second night was 3,600          one truck, and it's just time for things to
    Cubby Colby: It's getting pretty good. I            relationship with management and the rest of           seats, and they brought in the same amount           shift that way a little bit. Economically for
know where the bathroom is. I know how to               the audio crew he had with him at the time; and        of gear, and I went, "Well, gee guys, don't you      us, we found something that the artist and
say hello and goodbye and introduce myself.             Frank, who was the front-of-house guy, moved           think we should have…" Well, in this guy's bro-      management and myself and everyone else
Production is bilingual, and everybody in               to monitors and I got the call that they were in-      ken English, he explained that the d&b has a         is happy with and happy to be a part of and
the band is bilingual, and I'd say there's 50%          terested, so I came out and auditioned for the         mode where it's like a doubling of the P.A. in ef-   enjoy this accurate technology where you
Americans, and the band is pretty much all              gig in Las Vegas and LA — there was a back-to-         ficiency. And I said, "Well, I'm just not thinking   can sort of come into a room and make it
from Colombia. And then, the rest of the pro-           back with some promotional stuff — and I got           that line array’s going to be the problem, it's      happen. We're using this system in the sold-
duction is either from Mexico City or Colom-            the callback. Them not knowing anything about          more of the sub bass frequencies because the         out arenas at Madison Square Garden or
bia, so, now that I think about it, it's more like      my background and my history — I didn't really         room was going to be so big." So the guy does        Miami Arena — that's a 21,000-seat arena.
65% Latinos and 35% Americans. If you think             want to get the job based upon who I had done          his deal and we get ready and we're doing the        We did two Puerto Ricos, that was 18,000,
about it South America is part of the Ameri-            in the past; I wanted to get the job based upon        line check and we're right on the edge. Every-       no problem covering it with what we have.
cas… So no big deal.                                    what I can do and what I can offer.                    thing's hitting pretty hard. I tell the provider     We're happy.

    22          JUNE 2008                                                         
                                         Cubby Colby mixing Juanes’ show in Las Vegas                             (L to R): System Engineer Edgardo Vertanessian, System Tech Craig Laskowski, FOH
                                                                                                                  Mixer Cubby Colby, Monitor Engineer Anselmo Rota, Monitor Tech Jordan Kolenc

This is an odd room to mix in.                            bottom end, but I want it to be clean, and it's              I'm not even going to try to hang with the                  times: Music is universal. I don't know what he's
     I never mix in the center, so I'm always 4 to 6      a loud show, it's in your face, it's punchy, but         big dogs because I don't have that kind of ex-                  singing all the time, but I can certainly tell by the
feet off center; and I never mix on a riser, it gives     when I leave the building, my ears don't hurt.           perience. I'm a live mixer, that's all. So maybe I              emotions and the inflections of his voice what
me a better idea of where the rest of the room            How is that possible I think then I realize its          can find a niche for me there, and I'd be happy                 this must be about. And I feel the same way
is at by being slightly off-center, so if it's punchy     these P.A.s — and I used to say this about the           to be able to do that. We've all heard this many                whether it's in Spanish or it's in English.
for me, I know that in 80% of the rest of the             Prism system, because I loved that P.A., be-
room it's good, There is going to be a couple of          cause I worked with it for such a long time and
aisle ways that are going to be a little bit under
because of the characteristics of the sub bass.
                                                          got along with it very well, had great people
                                                          helping me all the time as well, and that's the
                                                                                                                                                     The Rest of the Team
Verta (system tech) and I — he's an extremely             other part: "It's so great!" Well, I got a ton of               When we set up the interview, Cubby made                  of 16 J8 + 2 J12 + 6 B2 subs + 6 J subs + 12
knowledgeable guy — we are really working                 help…anyway, my point is, all of these P.A.s                sure to tell me that he wanted me to spend                    Q1 + 3 Q7 per side. With all that we get a very
hard at evening things up. I'm using the J-Series         now make the bad rooms sound good.                          some time with the system engineer Edgardo                    good coverage pattern and we can choose
subs in the air and the B2s on the ground, and                                                                        Vertanessian and monitor mixer Anselmo Rota.                  what to fly depending on the venue we are in
everything's in cardioid mode. The B2s on the             That's true, but a line array in the wrong                  On this tour it really is a team effort and every-            that day. Cubby is one of those engineers who
ground are off the aux buss, so we're really try-         hands…                                                      one gets the credit they deserve.                             really care and love what they do. The result of
ing to make it really even. That's been my prob-               Yeah, but luckily for me, like right now, Verta                                                                      all of the above is a crystal-clear and punchy
lem with all of the systems I want the same im-           who's been out here, he's just an unbelievably              FOH: What was the reasoning behind going                      mix every night.
pact up on the sides as I'm having on the floor.          great guy. I met Verta doing Shakira and Luis               with d&b and what do you like about it?
I understand the floor gives us that coupling, I          Miguel going through South America. He's the                    Edgardo Vertanessian: For me, it’s the                    Did you have a hard time getting used to
know, but there's a way to make this happen.              big P.A., big system handler for Buenos Aires, for          best-sounding system right now. Eighth Day                    them at first?
We've got to strive to make that better way up            Argentina and Chile and they don't have a lot of            Sound, which is the company providing the                           Yes, at the very beginning, until you set
on the sides, and we're getting there.                    stuff to work with down there, and every time I             gear, has a huge d&b rig with D12 amplifiers.                 up your mind to the way it works, to the way
                                                          came down there, this guy did such an amazing               The good thing about d&b is that is not only                  the platform is. Once you get used to it, it’s
The guys on the sides are paying decent                   job, it was like I had any P.A. up there that I could       the speakers, but a complete system including                 very natural, but the first time you need a
ticket prices…                                            have conceived. He's just a very humble, knowl-             networked digital amps and software.                          little bit of time. Everything is round and nice.
     My theory is, even the people in the nose-           edgeable, smart guy that is musical and loves                                                                             After a couple times of using them, you’re
bleed seats, those are the ones with the cheapest         that position — doesn't want to be a mixer! It's            Had you used d&b before? Were you com-                        very comfortable with them and you don’t
tickets, and those are the biggest fans. They're          important to recognize everybody as a team                  fortable going into it?                                       want to go back.
the ones who can't afford the seats down front,           unit. We all work together.                                     No, this is my first tour with it.
but they're going to be there. They're the ones                                                                                                                                     Anything interesting from a miking level
who stand in line and wait overnight, and those           Anything that is still a struggle?                          Was there a learning curve?                                   onstage?
are the ones who deserve to have just as good                  Language difference sometimes. We have                       Ah, no. I’ve been trained at the Eighth Day                 We have 56 inputs and all the drums/
a sound as well as the ones up front. That's been         this runway that comes out 32 feet and there's              Sound facility, so when I first came in here, I               microphones are Sennheiser and Neumann,
my theory for a long time.                                a little B stage on the end of it, so I have usu-           knew everything about it, and on a daily basis                because the drummer is sponsored by Sen-
     It was funny; I went through this with Fer-          ally an A and a B mic, and I have all my scenes             it’s very friendly and consistent, there are no               nheiser and Juanes is sponsored by Shure. All
nan, the manager for Juanes, on the last tour.            stored for when he's in what position. The                  surprises. On the rigging side, it’s very easy and            the drum microphones are Sennheiser and all
We realized on that tour the Miami Arena was              other night I cut him off mid-sentence and                  fast to fly, too. We use a delta plate at the back            the rest of them are Shure. We have 8 RF mics
going to be sold out, so I had extra I-4s to be           I wasn't even thinking about it. I went to my               so you can aim it not just vertically, but horizon-           and 14 IEM channels.
brought in, eight per side to be flown for side           next snapshot. I messed up. Generally, I'll wait            tally as well. So it hangs from three motors and
coverage. Management was really concerned                 for him to stop talking, but he talks in Spanish            it’s a very smart system.                                     Monitors: wedges, PMs, both?
about the extra money, transportation, etc…               pretty much 80% of the time. He'll talk to the                                                                                Anselmo Rota: All PMs, and only wedges
I said, "Listen, it'll be really worth it. All those      audience a little bit in English, depending on              How long does it take you guys to put the                     for Juanes. He uses two wedges onstage in
people up there, they're going to be singing at           the demographics that are up around him. So I               system in the air every day?                                  one mix and another couple at the end of the
the top of their lungs, every lyric. Please, Fernan,      went back and I talked to him after the show to                 We start dumping the truck at 9 a.m., and                 thrust in another mix. He has PMs, too but it
go up there during the show." We didn't waste             apologize. We talk every night after the show               by 1 p.m., we have the P.A. running, the monitor              depends on the day. Sometimes Juanes asks
our money. He went up there during the show,              about tuning and playing and arrangements,                  world running, and we’re waiting for the risers               for more level on the wedges. He changes
came down during the show and said, "I'll never           but I mentioned to him, "I apologize," and he's             and the backline to start getting on the stage.               from day to day.
doubt your word again. Those are the biggest              such a very understanding guy. He goes, "It's               So we’re about three, four hours. Every day by 2,
fans. I went up there and saw those fans really           not your fault. We changed the show around,                 3 p.m., we’re ready to line-check. Not bad. And               What kind of ear molds are you using?
enjoying themselves just as much as the ones              and you've got your snapshots…" This is the                 we’re an hour and 20 ‘til load-out from show                       AR: All molds are Shure E-5. He felt a little
in the front rows. We did the best thing in the           type of guy that he is. He gets it.                         end…                                                          bit isolated with custom molds. He tried dif-
world to Juanes' fans by putting all of that P.A.                                                                                                                                   ferent brands, but finally, he wanted E-5.
on the sides, all the way around.                         We had some fairly intense racial comments                  What are you using to drive the rig?
                                                          posted on the FOH forum about non-Latin                       Dolby processors.                                           Subs for the drummer?
It's great to have a manager recognize that.              engineers on Latin tours. Ever have an issue                                                                                  AR: No, a thumper. He also has a small mix-
     Yeah, Juanes has a hands-on manager                  being the gringo mixing the Latin artist?                   How do you like those?                                        ing board to where I send SIX sub mixes and he
(Fernan Martinez) where he's at all of the                    Never. As a matter of fact, it's been quite                  You can have all the options you´d need,                 makes his final mix. The keyboard player and the
shows, all of the promo. He's down in the                 the opposite. It's a very embracing commu-                  the tablet interface is very helpful and you                  percussionist have mixers at their positions too.
trenches with us everywhere we go. Much                   nity. In fact, it has been the complete 100%                can choose from any type of filter you want.
like Tony Smith with Collins and Genesis.                 opposite of that. I did two Latin records for               Regarding time aligning and tuning, it is very                Keeps the stage nice and clean. What kind of
                                                          artists from South America based upon the                   helpful to have them in the rack. Cubby knows                 monitor console, the D5?
So are you still having fun?                              work that I've done down there, and I've                    exactly what he wants. He has a quite amaz-                      AR: Yes.
    I'm enjoying myself more with this new                only done live gigs down there, and now                     ing attention to detail, that is great because he
technology, and that's what's keeping me                  I'm being asked to do record mixes. And for                 helps a lot during PA tuning. I learn from him                Is that your console of choice?
here. It's because I know there's more here,              me? I'm not a recording engineer, I'm not                   every day, he has a huge experience dealing                        AR: Yeah, I chose it. I don’t want to use
there's more out there, there's more to learn             trying to be a studio guy. I'm just fortunate               with large PAs. For time aligning, as we have                 anything else but D5. I am very used to it
now than there ever has been, and now I can               that I get a call now and then when I've got                subs in the air and ground stacked, we set de-                and it has a lot of useful features that make
hear things the way I conceived wanting to                the time to do it. And I'd like to see myself               lay times between them so we have a pretty                    mixing monitors very easy.
hear them. Vocal intelligibility, punchy — I'm            go down that path a little bit more in the                  even coverage in that range. Our PA consists                       EV: We’re waiting for the SD7…
a drum mix/guitar, musical mixer guy, tight               future.

                                                                                                                                                                          2008 JUNE                 23
                                                                                                                                                                                            Gallo Center for the arts

                                 Modesto has a symphony? Who knew?

                                                                              Exterior shot of the Gallo Center for the Performing Arts   By BreanneGeorge

                                                                                                                                                 he Gallo Center for the Arts is a shiny
                                                                                                                                                 gem in the Central Valley of Califor-
                                                                                                                                                 nia, satisfying a need for performing
                                                                                                                                          arts in the Modesto community. The center,
                                                                                                                                          which opened in September 2007, is home
                                                                                                                                          to four resident companies including the
                                                                                                                                          Central West Ballet, Modesto Community
                                                                                                                                          Concerts Association, Modesto Sympho-
                                                                                                                                          ny Orchestra and Townsend Opera Play-
                                                                                                                                          ers. With two performance spaces — the
                                                                                                                                          1,250-seat Mary Stuart Rogers theater and
                                                                                                                                          the intimate 444-seat Foster Family theater
                                                                                                                                          — the center is also designed to accom-
                                                                                                                                          modate a variety of performances, from
                                                                                                                                          touring Broadway productions to rock ‘n’
                                                                                                                                          roll concerts. “We’ve seen everything from
                                                                                                                                          symphonic and acoustic performances all
                                                                                                                                          the way up to Broadway shows and pretty
                                                                                                                                          much everything in between. We’ve seen
                                                                                                                                          ballet, contemporary dance, even break
                                                                                                                                          dancing,” says Brian Svoboda, sound engi-
                                                                                                                                          neer at the Gallo Center for the Arts. “It re-
                                                                                                                                          ally is an answer to a call for performing arts
                                                                                                                                          in Modesto.”
                                                                                                                                               With the array of acts to perform at the
                                                                                                                                          center, the sound system needed to be
                                                                                                                                          flexible and user-friendly. “(Staff ) wanted
                                                                                                                                          to make this theater adaptable to accom-
                                                                                                                                          modate our resident companies, but also
                                                                                                                                          accommodate these big Broadway tours,”
                                                                                                                                          Svoboda says. “We needed a system in
                                                                                                                                          place that could cover all the audio require-

                                                                                                                                          A Smooth — and Clean — Install
                                                                                                                                               PCD of Santa Rosa, Calif., was contract-
                                                                                                                                          ed to install the audio system at the Gallo
                                                                                                                                          Center via a competitive bidding process.
                                                                                                                                          President of PCD Henry Beaumont says he
                                                                                                                                          was aware of the Gallo Center prior to its
                                                                                                                                          construction, and introduced himself to the
                                                                                                                                          county project manager in charge of the
                                                                                                                                          project. “The county had built the center
                                                                                                                                          with a general contractor and had decided
                                                                                                                                          to outfit the theater through direct con-
                                                                                                                                          tracts with the various vendors,” Beaumont
                                                                                                                                          reports. “That way all the curtains, lighting
                                                                                                                                          and sound would be installed after the cen-
                                                                                                                                          ter was completed.”
                                                                                                                                               When PCD started the four-month in-
                                                                                                                                          stallation process, the center was already
                                                                                                                                          built and final aesthetic touches were be-
                                                                                                                                          ing made to the two theaters. This greatly
                                                                                                                                          simplified the install for the sound crew.
                                                                                                                                          “Usually, you’re trying to get the sound sys-
                                                                                                                                          tem in at the same time that general con-
                                                                                                                                          struction is still going on,” Beaumont says.
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                                                                                                                                          “In this case, I think the county wisely chose
                                                                                                                                          to complete the building and then bring in
                                                                                                                                          the specialty trades, which created a lot less
                                                                                                                                               From the sound crew’s perspective,
                                                                                                                                          they didn’t have to worry about installing
                                                                                                                                          expensive gear amid sheet rock dust in a

                                  24     JUNE 2008         
Ad info:
                                                                                                                                                                                                          Dan Van Gorkom

                                                                                                                                               Yamaha PM5D at front of house in the Mary Rogers Theater

physically dirty environment or face time      input and oversight over the conduit ar-       tion. Two Yamaha PM5D digital, which can        An Acoustical Gem
constraints and conflicting schedules with     rangement, and that was not the case on        be used for a wide variety of acts, reside at       Nestor & Gaffney Architecture LLP of
the general contractors. One drawback with     this job,” Beaumont says.                      front of house and monitorland.                 Santa Ana, Calif., designed both theaters
not being present during the center’s con-         PCD installed a JBL VerTec system into         The Foster Family theater’s narrow di-      with acoustical purposes in mind. The Mary
struction, however, was the lack of input in   the Mary Rogers theater, including 16 JBL      mensions offer an intimate venue for un-        Stuart Rogers theater is a traditional shoe-
the design process.                            VT 4888s and four VT4882s in a left/right      amplified performances. The sound sys-          box shape to accommodate its primary use
    “I think the biggest challenge was work-   line array configuration on each side of the   tem is similar to the Rogers with 12 JBL        as a classical music venue. It has a maximum
ing through the installation with an exist-    proscenium and center cluster. In addition,    VRX932LA line arrays, four JBL VRX918S          width of 97 feet that tapers to approximate-
ing conduit system over which we had no        the system includes three Renkus-Heinz         subs, three Reinkus-Heinz TRAP40M/6K            ly 72 feet between the sidewalls in front of
input. In a normal construction process,       TRAP40M/6K MH, three TRAP40K/7K FR and         MH, three Tannoy Iw6TDC stage lip moni-         the proscenium to direct sound reflections
there are coordination meetings that allow     five Tannoy iW6TDC stage lip fill monitors.    tors and a Yamaha M7CL digital console at       toward the center orchestra seating. “I think
us as the audio-visual contractor to have      The system is driven by Crown amplifica-       front of house.                                 the Rogers is clearly the acoustical gem,”
                                                                                                                                                        Dan Van Gorkom
Dan Van Gorkom

                                                                                                                                                                                                                              Dan Van Gorkom
    Yamaha PM5D at FOH in the Mary Rogers Theater                                                   JBL VerTec line arrays in the Mary Rogers Theater

    “ We ’ ve see n eve r yt h in g f r om s ym phon ic an d a c o us ti c
    performances all the way up to Broadway shows and pretty
    much everything in between. We’ve seen ballet, contemporary
    dance, even break dancing.” — Brian Svoboda                                                                                                                           Crown i-tech amp racks in the Mary Rogers Theater

    Beaumont says. “That’s where the Modesto        compressors and equalizers built right into    while Broadway touring productions                                    the Modesto Symphony. “It was a major
    Symphony plays — that’s their flagship          the board, it minimizes the need for out-      bring their own sound engineers. Three                                event and a lot of fun,” recalls Svoboda.
    room. The theater also fashions beautiful       board gear, making it easy to tweak sound      Broadway shows have graced the Gallo                                  “We did a live broadcast outside on the
    wood veneer walls that increase reverber-       on the fly.                                    in the past year, including Gypsy, Evita                              plaza and it turned out to be a sold-out
    ence as part of the acoustical design.              A particular challenge for Svoboda is      and Cats. Svoboda notes that sound en-                                show.” Shortly thereafter, Tony Bennett
        The theater also has a certain amount       mixing sound for performances by smaller       gineers for each production used a PM5D                               performed in the Mary Rogers theater and
    of adjustable acoustics with retractable        groups and soloists who will sing along        at front of house. “Not only is it a popular                          was so impressed by the acoustics that
    drapes and other elements that can be           with the Modesto symphony. “The most           roadhouse console, but also a popular                                 he made an interesting request. “Tony
    brought in or taken out depending on the        challenging thing for me is to get a really    touring console,” Svoboda says. “If I have                            asked his FOH mixer Tom Young to cut
    type of performance. “One of the great          good hybrid sound when some component          a PM5D, and I go somewhere else that                                  all the microphones right then and there
    things is you can put an un-amplified or-       of the performance is acoustic and the other   has a PM5D, then I can transfer informa-                              — three quarters of the way through the
    chestra in here and it will sound great,        component is amplified.” He says he uses       tion very easily via a flash-based memory                             show! He cut the mics and Tony sang a
    but you can also do a rock ‘n’ roll show or     almost every tool available on the mixing      card.”                                                                piece by himself accompanied by a piano
    musical and it will still sound great,” com-    console to achieve this desired balance.           For the opening week, the Gallo                                   and light rhythm section,” Svoboda says.
    ments Svoboda. He admits that it can be a                                                      hosted a multitude of performances for                                “ You could hear every word he sang.
    challenge bringing an amplified sound to        Bringing Broadway to Modesto                   both the younger and more traditional                                 It’s definitely a testament to how good
    theaters designed for symphonic or acous-          Svoboda mixes for the resident com-         crowd. The first show featured Broadway                               this theater can sound even without
    tical music. Because the Yamaha PM5D has        pany performances and smaller shows,           legend Patti LuPone singing along with                                reinforcement.”

                                                                                                                                                                                                                                               Ad info:http://

B e rk lee Re novate s H is t o r ic
Performance Center

                                                                                                                                                                                                                       All phots by theodorA K. MArA
                                                                                                       New install for prestigious music school
                                                                                                       had to be “beyond reliable.”

                                                                                                                                               Yamaha PM1D at FOH position at Berklee College of Music’s Performance
By KevinM.Mitchell

    t’s hard to imagine a room that sees (and            It’s a historic space dating back to 1915               One thing he knew for sure was whatev-       “We used it to predetermine placement
    hears) as much music variety as Berklee         when it was called the Fenway Theater, a               er got the nod would have to be line arrays.       of speakers and the actual angles,” he ex-
    College of Music’s Performance Center.          vaudeville venue that quickly became a                 Because it is a narrow theatre (45’ wide, 120’     plains. “After that, you go into the room,
The space, the largest of five performance          movie theater. Berklee bought it in 1972,              deep), finding the right fit for the best cov-     and you’re already 95% and just have to
centers on campus, is host to at least 200          and it was renovated to enlarge the stage.             erage was key, and for Berger, that meant a        tweak the other 5%, usually with little or no
events a year, which cover everything from          Today, half the events are performances by             good line array. “I made up my mind when           additional EQing.”
classical to electronica, jazz to hard rock,        students; the other half are popular acts              I first heard the M’elodies demoed in Nash-             Size isn’t everything, either. “These are
bluegrass to hip-hop, and even delves into          brought in by local promoters (most recent-            ville almost a year and a half ago,” he says.      diminutive little boxes — not the biggest
the world of avant guard.                           ly, Chuck Berry and the Red Hot Chili Pep-             “I got to hear them with a lot of different        in the world, but the sound produced from
      The Boston Globe calls the space “one         pers performed at a special fundraiser).               styles of music — funk, rap, jazz, country         them is phenomenal. And we only used
of the premier venues for jazz and pop in                “We had a Meyer sound system, the                 — and that’s what we do here. So hearing           two subwoofers, which are under the stage,
the country,” so whatever is done to the            Legacy, which we installed in 1988,” Berger            the speakers with different live bands really      so that’s pretty impressive.” Also impressive
1,215-seat room has to be done well. After          tells. “So, we had already been all Meyer for          won me over.” Helping also was the long re-        is the amount of power and volume: “When
all, former students include such luminar-          20 years, and that it still sounded good, and          lationship they’ve had with the company.           demoing, we probably just got it up to just
ies as Quincy Jones, Keith Jarrett, Steve Vai,      the fact that we moved that old equipment                    “The install went very well,” confirms       35% to 45% — so there is enough power
Aimee Mann and Melissa Etheridge.                   over to another performance space to be                Meyer’s Sandy Macdonald. “We originally            there to pin you up against the wall!” he
      Another unusual aspect is that there          used some more, says a lot.”                           did a full-on demonstration there with             laughs. “Suffice to say there is a lot of head
are a lot of hands on deck — it’s all student            Not that Berger went into this with a             M’lodies and Brad was excited — he actual-         room.”
run. This means that when it came time to           closed mind.                                           ly kind of drove this entire project through.           (Fun fact: Macdonald himself is a Berk-
upgrade the audio gear, in addition to being             “We brought in all kinds of stuff here to test.   In the end, the higher ups were ecstatic.”         lee alumni. The professional pianist hopes
able to sound as worthy as the performing           Sometimes we rented, sometimes we asked                      The physical install went quickly, which     to play in the room himself someday…)
talent, it needed to be beyond reliable.            companies to come in and demo for us. We               Macdonald attributes to the MAPP-Online
      That’s a lot of pressure on the picking and   looked at a lot of different speakers, he says.        acoustical prediction program they use.            Teaching Tools
                                                                                                                                                               Teaching Tools                       FOH
installing of a new sound system — and the                                                                                                                         A prevailing consideration for every
mission appears to have been accomplished.           Berklee Expands Recording Possibilities, too                                                             choice made is that, in essence, the per-
      “I think the sound system is incredible —          For years, whenever Berklee wanted to         Reggie Lofton is the institution’s                     forming arts center is also a teaching facil-
it’s definitely what I’m most proud of,” beams       film and record a concert event — which associate director of video services,                            ity for students. Learning on a board that
Brad Berger, associate director of produc-           was often — the equipment would take and he says that while all the students                             is widely used and accepted as opposed to
tion, of the 16 M’elodie line array loudspeak-       up the back two rows of the precious few who work at the facility initially have                         learning on some piece of equipment that
ers flown at the proscenium and four MJF-            seats. A few years ago, they punched a other goals, like becoming perform-                               students will never see in the real world is
212A stage monitors on the floor.                    whole in the wall and set up a control room ing artists themselves, many of his ex-                      critical to their educational development.
                                                     in the room next door.                        students have gone on to work for in vari-                      The board of choice is the Yamaha
A Lot of Different Speakers
 A Lot of Different Speakers          FOH                With this recent renovation, it’s been ous capabilities for companies like Vari-                     PM1D, which Berger is also happy with. He
    Berger began his career doing “every-            expanded into a full audio/video suite. Light, Bandit, High End, and local compa-                        swapped out his Yamaha PM4000 for the
thing — designing the lights, being FOH,             Like everything else associated with the nies. He says soon the audio/video suite                        digital unit two years ago. “Yamaha has
monitor engineer, even driving the truck”            performance spaces, it’s all student run, will be capable of recording 48 multitracks                    been on the forefront of digital consoles,
for a variety of bands in the early 1970s. A         and apparently run very well — they turn locked up with Sony digital cameras for                         and they were hands down the most reli-
decade after he started that, he found him-          out DVDs of every event in a day. The DVDs higher quality DVDs. “On a daily basis, we                    able. Even if I were purchasing one today,
self at Berklee, and now for 26 years has            are sold or given out, and more impor- will be able to provide a higher quality                          I’d probably still go with it. We have more
seen and spearheaded many changes and                tantly, placed in the library so students can mix, and soon we’ll be mixing 5.1 Surround                 than 100 touring shows come through
updates. But he’s especially pleased about           review past performances.                     Sound for that room,” he says.                             here a year, and everyone has been com-
this one.                                                                                                                                                     fortable with it.”

 28          JUNE 2008                                                        
View of Berklee College of Music’s Performance Center             The sound system includes 16 Meyer M’elodie line-array loudspeakers at the proscenium and four MSF-212A stage monitors

Brad Berger

        Budget restraints keep too much
   happening all at once. For instance,
   they are mostly sitting tight with their
   20-year-old monitoring system, which
   is also Meyer gear. “But over the years
   we’ve upgraded, added different piec-
   es. For instance, we did add four new
   MJF-212 High-Power Stage Monitors
   — you know, the ones Metalica use,
   although, we don’t usually do that
   kind of music!” he quips.
        “The monitor board is the last
   piece that needs to be changed out,
   and I’d like to put something compat-
   ible to the PM1D — maybe the 5D or
   some smaller Yamaha unit.”
        Mics are always an ongoing pro-
   cess too. It’s such an acoustically
   well-designed space, they don’t al-
   ways need them (“you can whis-
   per on stage and here it from every
   seat”). Mics are sometimes used on
   instrumental music, if only to add a
   little reverb. And they are used to re-
   cord, of course. But they add about
   half a dozen new mics every year
   and now have around 250 in their
   arsenal. Most recently, they picked
   up some Shure KSM9s and AKG 45a
   reissues. Also added this round was a
   ClearCom intercom system with mul-
   tiple stations for sound and lights.
        “Just working with the budget
   was the biggest challenge,” Berger
   reflects. “Also, the theater structure is
   limiting. We’d like to have a little more
   room, but…”
        Compromises and wish lists aside,
   it’s been a very satisfying experience
   for him. “The line system is everything
   we hoped it would be,” Berger says.
   “The coverage is phenomenal.”

                                                                                                                    2008 JUNE                      29

                                                                                                           Bartlesville Community Center completes extensive
                                                                                                           audio system revitalization.

                                                                                                            By R.Maxwell

                                                                                                                                                                                          Marie Foster Performing Arts Hall

Exterior shot of Bartlesville Community Center

         hile Bartlesville, Okla., may not             space able to accommodate 10 wheel
         find itself included in the same              chairs. There is no center aisle — seat-
         sentence as New York or Los An-               ing is arranged in the Continental style,
geles when one discusses performing arts               with each row 42 inches wide. Each row
venues, the city’s main cultural facility is           is actually considered to be an aisle. The
at the cutting edge in every sense of the              sound reverberation rate in the space is
word. This vibrant community of roughly                controlled with the drapes on the side
35,000, some 47 miles due north of Tulsa,              and rear walls in optimized ranges of 1.9
is home to the Bartlesville Community                  seconds for symphony concerts to 1.1
Center, a positively stunning complex                  seconds for theater performances.
designed to provide cultural and educa-                     With capacity for 64 microphones and
tional opportunities for the city.                     input capability for a variety of playback
                                                       sources, the room has a number of unique
A Unique Performance Space                       FOH   attributes. Chief among them is a stage
    Designed by William Wesley Peters, a               lift at the front of the stage area. This lift
student of Frank Lloyd Wright and vice                 is 62 feet wide and 11 feet deep and can
president of the Frank Lloyd Wright Foun-              be raised and lowered to address a variety         Anthony Hinton, technical director for the BCC, at the FOH mix position
dation, the Bartlesville Community Cen-                of room configurations. At the uppermost         the front edge of the orchestra pit. Each                       LightViper snake. The decision to feed the
ter’s dramatic architecture emphasizes                 of five available levels, the lift can be used   line array consists of two Aero CA-215A                         monitor console via analog rather than
the use of sweeping curves, circles, ovals             as an extension of the stage. At the Au-         monoamplified arrayable subwoofers po-                          digitally was made to provide indepen-
and acute and obtuse angles. Mrs. Wright               ditorium level (the next lower level), it        sitioned atop ten Aero 28A two-way, com-                        dent gain control for the monitors and to
selected most of the interior décor. In ad-            can provide seating for an additional 86         pact line array elements. Each line array                       enable external touring acts to use an ex-
dition to concerts, the Center presents                people. At the orchestra pit level, the lift     is flown using StageMaker SM5 Electric                          isting analog monitor console if desired.
ballet, a wide variety of stage produc-                can accommodate 45 musicians. The re-            Chain Hoists. The arrays are raised and                             Howard commented on the system’s
tions, an art gallery, and meeting facili-             maining two levels facilitate stage access       lowered for each performance as neces-                          audio transport facilities. “One of the
ties for a broad spectrum of civic groups.             and storage.                                     sary — to avoid visually conflicting with                       requirements was that their existing
The beautiful multifunctional facility is                   According to Gary Howard, principal         the regularly scheduled acoustic perfor-                        64 channels of analog line cabling to
equipped to handle events as large as                  of SFH Productions, a full-service A/V           mances of the local symphony orchestra.                         FOH still be accessible, but with signal
state conventions, and as small as group               firm that offers equipment rental, audio              Complementing the flown loud-                              transport on the new digital snake. For
meetings of 15.                                        recording and related services in addi-          speaker arrays are dual, ground-stacked                         this, we took their existing patch panel,
    The Bartlesville Community Center                  tion to systems design and installation,         Aero 182A 2K subwoofers — positioned                            which was hard wired from the stage to
recently completed an extensive up-                    “The space required a system that would          just to the outside of each loudspeaker                         the FOH position, and broke that con-
grade designed to enhance the sound                    complement the room’s already very nice          column. When monitors are required, a                           nection. Using short XLR patch jumpers,
reinforcement capabilities in the build-               acoustics. Further, it had to be capable of      combination of seven D.A.S. SML-12A and                         we created a patch panel at the stage
ing’s primary performing arts space —                  providing a natural sound that patrons           two SML-15A powered stage monitors                              area where they could patch from any
the Marie Foster Performing Arts Hall.                 who are accustomed to non-amplified              are provisioned according to the require-                       analog channel into any channel on the
After an extensive evaluation period that              acoustic performances could enjoy. The           ments of the specific performance.                              digital snake input box. This gives the
included onsite demonstrations from all                system’s ability to provide even disper-              The front of house mix position is lo-                     house audio tech the ability to use up
the major equipment manufacturers,                     sion throughout the entire seating area          cated near the very back of the space —                         to 32 of their existing analog lines —
the contract was ultimately awarded to                 without sounding harsh or overpower-             just left of center. Here, a Yamaha LS9-32                      carried over the higher quality digital
SFH Productions, LLC, of Tulsa, Okla. The              ing was also a key design mandate and,           digital mixing console with 32-mic/line                         snake.”
system that won the bidding process                    of equal importance, the client requested        inputs and a total of 64 channels resides.                          The LightViper snake feeds the Yama-
required the ability to easily adapt to a              that it have the ability to blend aestheti-      Audio transport between the stage area                          ha mixer via the LightViper VIM-MY32 MY
broad spectrum of presentations. Key                   cally with the room as much as possible          and FOH is managed by a LightViper Fiber                        expansion cards. Two runs of multimode
components in the new sound reinforce-                 and present a clean, unobtrusive appear-         Optic digital snake with 32 x 8 stage in-                       duplex fiber are provided for stage left
ment system include all self-powered                   ance to the audience.”                           puts and a 2-way monitor split (one digi-                       and right to accommodate moving the
loudspeakers from D.A.S. Audio, a Yama-                                                                 tal over AES/EBU, one analog over stan-                         snake into position for touring acts who
ha digital console and LightViper Fiber                The Nuts and Bolts                     FOH       dard DB-25 to XLR connections). The FOH                         wish to use various components of the
Optic audio transport capability.                          The D.A.S. loudspeaker system in-            board has 32 digital channels fed by the                        system (such as their own monitor board,
    The Marie Foster Performing Arts Hall              stalled by Howard and his crew consists          LightViper snake and 32 analog channels                         but with the house PA system and/or mix-
is a highly sophisticated performing arts              of three main components: two symmet-            fed by their existing analog patchbay, all                      er). Due to the extremely long cable runs
venue. At approximately 125 feet long                  ric left and right flown line arrays, floor-     of which can be used simultaneously for                         — the longest of which is over 450 feet
by 125 feet wide, the space has a con-                 mounted double 18-inch subwoofers                a total of 64 channels. An additional LS-9                      — fiber was the logical choice. All FOH
cave ceiling that is 60 feet at its highest            and four D.A.S. Audio Variant 25A ultra-         console is available for monitors, provid-                      connections are made to the snake with
point with a 25-foot slope to the floor.               compact line array modules that can be           ing up to 16 monitor mixes. This console                        Neutrik OpticalCon fiber connectors.
There are 1,692 seats, with an additional              positioned for front fill — typically along      is fed by the analog monitor split from the                         An Ashly Protea 3.24CL 3-input, 6-out-

    30            JUNE 2008                                                  

                                 Marie Foster Performing Arts Hall   The Light Viper patch panel adjacent to the main stage area   Anthony Hinton kneels next to the D.A.S. Audio Aero 192A 2K subwoofers

                                                                                                                                               put loudspeaker processor controls the
                                                                                                                                               main left and right arrays and subwoof-
                                                                                                                                               ers. Inputs to the Protea are fed with
                                                                                                                                               three of the eight returns from the digital
                                                                                                                                               snake — ensuring an all-digital FOH sig-
                                                                                                                                               nal path until just before the inputs to the
                                                                                                                                               processor. Additional returns are used for
                                                                                                                                               front fills and sidefills as required, using
                                                                                                                                               the LS-9’s matrixing capabilities. The Ya-
                                                                                                                                               maha LS9-32’s onboard EQ also augments
                                                                                                                                               the system.
                                                                                                                                                   In addition to an existing micro-
                                                                                                                                               phone complement of various Shure and
                                                                                                                                               AKG models, Howard specified six Audix
                                                                                                                                               OM3 handheld dynamic microphones
                                                                                                                                               for vocals, four Audix i5 dynamic instru-
                                                                                                                                               ment mics for general purpose use, and
                                                                                                                                               three ADX51 condenser instrument mics
                                                                                                                                               for group vocals and string sections. For
                                                                                                                                               drum miking applications, an Audix DP7
                                                                                                                                               dynamic mic kit is available.

                                                                                                                                                Ready for the Down Beat              FOH
                                                                                                                                                    The Marie Foster Performing Arts Hall’s
                                                                                                                                               audio upgrade was completed in January
                                                                                                                                               2008 and was immediately placed into
                                                                                                                                               service. “The system made its ‘baptism by
                                                                                                                                               fire’ debut on Jan. 16 with a performance
                                                                                                                                               by the Temptations,” notes Howard. “Since
                                                                                                                                               that time, it has also been used for a con-
                                                                                                                                               cert by the 1st Infantry Division Band.
                                                                                                                                               What really makes this system so com-
                                                                                                                                               pelling is the combination of the D.A.S.
                                                                                                                                               loudspeakers and the digital capabilities
                                                                                                                                               of the combined Yamaha mixer and Light-
                                                                                                                                               Viper digital snake. Throughout the entire
                                                                                                                                               hall, there is no more than a ± 3 dB SPL
                                                                                                                                               variance. The D.A.S. loudspeaker system
                                                                                                                                               delivers clean and even sound coverage
                                                                                                                                               without overpowering the audience. It’s
                                                                                                                                               a high quality sound that never gets ag-
                                                                                                                                                    Anthony Hinton, technical director
                                                                                                                                               for the Bartlesville Community Center, is
                                                                                                                                               equally enthusiastic. “When I was look-
                                                                                                                                               ing for an audio system for the commu-
                                                                                                                                               nity center,” said Hinton, “I knew I needed
                                                                                                                                               something that would enhance the audi-
                                                                                                                                               torium and not take away from the natural
                                                                                                                                               feel of the room. The D.A.S. Aero line array
                                                                                                                                               system did just that. Integrated with the
                                                                                                                                               LightViper digital snake and the Yamaha
                                                                                                                                               console, audio throughout the entire sys-
                                                                                                                                               tem is extremely clean and natural sound-
                                                                                                                                               ing. The combined system is not too loud
                                                                                                                                               as to distract one from enjoying the show,
Ad info:http://

                                                                                                                                               and yet it fills the room with whatever is
                                                                                                                                               taking place on stage without going over-
                                                                                                                                               board. The reproduction is very smooth
                                                                                                                                               and accurate. I am very impressed with
                                                                                                                                               the D.A.S./LightViper/Yamaha combina-
                                                                                                                                               tion and would recommend this system
                                                                                                                                               to anyone.”

                                     32             JUNE 2008            
         FOH Digital Consoles Under $50K Buyers Guide

Digital Consoles for the Rest of Us                                                                                                               By BillEvans

          e have been trying to do this Buy-     where they rivaled a good analog board. Our        The truth is that a year ago there were still not   good-sized tours (we worked a show on one
          ers Guide for three years. With the    editorial calendar in 2006 had a Buyers Guide      many offerings in the price range we were           of them to Road Test the console); and we
          growing adoption and acceptance        listed with the same headline you see on this      looking for.                                        sent a Mackie system out on a show with a
of digital consoles in the live event audio      one. The problem was that while some prices            But that really changed this year. And          still-touring classic rock band. The sow was
workplace, a real “have-vs.-have-not” envi-      had dropped, most had not, and there were          while the sub $50K digital consoles — those         for 1,000-plus people and the reviewer was
ronment had developed for quite a while.         not enough offerings under our sub-$50K            made "for the rest of us" — may not be as           loath to part with the review unit when it was
Digital consoles are a great tool and increas-   price point to really do it.                       sexy or have the huge feature sets of their         done. There is enough to work with in this
ingly demanded on show riders, but their              We got closer last year, but received a       larger siblings, they get the job done and          price range today.
cost puts them simply out of reach of many       tremendous amount of pressure to raise the         offer many of the same advantages of more                 Some companies are staying in the upper
— if not most — smaller companies. These lo-     price point, which we did. Even in hindsight,      expensive units. I have been on half a dozen        part of the market only and that is a totally
cal and regional soundcos were stuck either      it is hard to say if that was or was not a mis-    good-sized gigs in the past month where             legitimate approach. But with times as tight
not getting gigs they once did or renting the    take. We pride ourselves at FOH on editorial       the monitor board was a Yamaha M7CL. I              as they are, we are glad we can finally present
demanded digital desk.                           independence and not allowing advertisers          have seen the Digidesign D-Show Profile on          a list of digital consoles that can do the gig
    But with the introduction of the Yamaha      to dictate content, and this was a rare occa-      a number of tours and bigger shows; RSS is          for less than it costs to buy a house. Here is a
PM5D, the landscape started to change a bit      sion where we adjusted the parameters of a         making headway in the HOW and install mar-          peek at what is out here for those of us on a
and prices were dropping at least to the point   planned piece due to manufacturer angst.           kets; the Allen & Heath iLive is out on some        bit more of a budget...

                                                                                        Number of Mic Inputs Maximum Number of EQ Characteristics per
        Company                  Model            MSRP          Size and Weight                                                                                         Dynamic Processing per Channel
                                                                                        with Dedicated Fader    Output Mixes         Channel

      Allen & Heath                                           29.6” x 13.9” x 27.7”                                                                                         Gate and Compressor with
                                iLive-80         $31,727                                      Up to 64                       32               4-band parameteric                                          for 64-in/32-out                                                                                                 side-chain option

                                                                                                                                             4-band fully paramet-
                                                                17.5” x 17” x 15.1”                               Any combination of
                                                                                                                                             ric per channel, avail-
                             D-Show Profile                    74lbs.; Profile Con-                               groups or auxiliaries
     Digidesign                                                                         48 recallable analog                                 able in either analog      1 Compressor, 1 Noise Gate, plus 4
                                Mix Rack         $39,995       trol Surface: 45.22”                                equaling 24 Plus 8                                                                      XLR mic inputs                                      or digital emulation,       TDM plug-in slots per channel
                                System                          x 6.65” x 31.1”, 90                                Mono and 8 Stereo
                                                                                                                                               plus 4 TDM Plug-in
                                                                        lbs.                                           Matrixes
                                                                                                                                                slots per channel
                                                                                                                                                                          Dedicated Gate and Compressor
                                                                                                                                                                        for analog and digital input banks.
       Mackie                                                                                                                                      4-band fully          Compressor only on all Aux mas-
                               ttSystem32        $13,000       42.6” x 25” x 10.5”                 56                        22                                                                                                                                 parametric            ter, Sub-group and main outputs.
                                                                                                                                                                         Dynamics and EQ on digital bank
                                                                                                                                                                            requires optional UFX2 card.

                             V-MIXSYS-BAS        $9,995                                            26

 Roland Systems Group                                           29.5” 24-11/16” x
                             V-MIXSYS-EXP        $14,795                                           58             18 buses + stereo REC                                    Gate, Compression, Filter, EQ                                                  9-1/16”                                                                            18

                             V-MIXSYS-STD        $11,495                                           42

                                                                                        56 onboard, 56 addi-         24 Mix, 8 Matrix,              4-band fully           Two independent dynamics
                                                              61.1” x 37.4” x 11.1”
                                  PM5D           $49,800                                 tion remote or with        Stereo A, Stereo B       paramentric EQ (Type I     processors: Compressor, Gate, Ex-
                                                                    216 lbs.
                                                                                           DSP5D expander                Outputs             & II) plus dedicated HPF   pander, Ducking and Compander

                                                               M7CL-32: 41.7” x
                                                              27.6” x 11.3,” 93 lbs.;
                                M7CL-32,         $19,999,
  Yamaha Commercial                                            M7CL-48: 50.2” x            40, 56 onboard
                                M7CL-48          $24,999
  Audio Systems, Inc.                                          27.6” x 11.3,” 110                                                     lbs.
                                                                                                                                                                           Two independent dynamics
                                                                                                                                                    4-band fully
                                                                                                                  16 Mix, 8 Matrix, Ste-                                  processors: Compressor, Gate,
                                                                                                                                             paramentric EQ (Type I
                                                                                                                  reo + Mono Outputs                                     De-Essor, Expander, Ducking and
                                                                                                                                             & II) plus dedicated HPF
                                                                 LS9-16: 18.9” x          16 onboard, 16                                                                            Compander
                                                 $5,999,        19.7” x 8.7,” 26.5       optional remote;
                             LS9-16, LS9-32
                                                 $10,999      lbs.; LA9-32: 34.8” x     LS9-32: 32 onboard,
                                                               19.7” x 8.7,” 43 lbs.    32 optional remote

   34         JUNE 2008                                                 
                                                                                                         Mackie TT System 32

  D-Show Profile Mix Rack System

                                              Yamaha PMSD
                                                                                                                                                                                             Allen & Heath iLive

           Built-in Effects, Types and Quantity                    Digital Control Characteristics, I/O Types                                             Special Features

                                                               80-channel capability. Audio transport via ethernet.             Available in 4 sizes 80, 112, 144, 176. Fully configurable I/Os. Digital
 8 digital effects, reverbs, delays, flanges, chorus, etc.
                                                             I/O types: mic/line, AES3, ADAT, Aviom, s/pdif, Phoenix                           snake. Digital console with analog feel.

  Noise Gate and Compressor per channel plus VEN-            Recallable mic/line preamps, 16 analog, digital, analog
                                                                                                                           Up to 3 DSP Mix Engine Cards, D-Show 2.7 Software, VENUEPack 3.0 plug-
 UEPack Plug Ins; Impact, Revibe, Reverb One, Smack,          & digital and A-Net output options, dedicated analog
                                                                                                                           in bundle, built-in ECx Ethernet port for remote control, and a full comple-
Bomb Factory BF-3A, Pultec, Slightly Rude, Classic and       insert points, 2-track analog and digital I/O, Dedicated
                                                                                                                            ment of primary and ancillary audio I/O implementable at no expense to
Moogerfooger bundles, Focusrite d2 and d3 and Troo             local monitor outputs, MIDI I/O, COM and Talkback
                                                                                                                           base I/O counts. HD or Pro Tools LE interface and Ehternet remote control.
             Trace audio analysis plug-in                                        inputs, Pro Tools

                                                             LCD touch screen, luminated rotary “V-Pots” with push
  4 Busses, Reverb, Gate+Reverb, Mono Delay, Stere           function, luminated buttons. Standard connectors for           The TT System32 combines the TT24 Digital Live Console, DS3232 Digital
Delay, Chorus, Flanger... Fully editable with presets and     analog I/O. (XLR, 1/4”, etc.) ADAT I/O (3 ports). Stereo       Snake. With flexible I/O, full DSP capability and total recall, TT System 32
                    dedicated EQ                             S/PDIF and AES/EBU, Propietary “U-Net” multichannel           brings remote stage connectivity and control at a “console-only” price point.
                                                                 (via Cat5E & RJ45 connector) for digital snake.

                                                             I/O Types: Analog Mic or Line, AES/EBU, SPDIF Out, USB
4 dual-mono Effects processors + 4 GEQs, 50 Effects: Re-
                                                              Play/REC, Talkback. Control: MIDI, RS232, USB Remote         A complete system with scalable digital snakes; built-in Ethernet Split to
 verbs, Delays, Choruses, Flangers, Phasers, Pitch Shift-
                                                                Software, REAC Ethernet for Pre-Amps: Gain/Pad/            Sonar for multitrack recording; on-board USB WAV Play/REC; assignable
 ers, Gates, Para-EQ, GEQ, Expander, Ducking, De-Esser
                                                                                Phase/Phantom                                        user privileges and Scenes; limitless Split locations.

                                                                                                                               V2 features Virtual Soundcheck - switch between live inputs and from
                                                              3 AES-3 In/Out, optional MY-Card Interfaces: AES-3,
  8 SPX Effect Processors + 12 31-band Graphic EQs +                                                                            multi-track recorder. Effect Library Programs: De-Essor, add-on VCM
                                                              CobraNet, Ethersound, ADAT, TDIF, MADI, A-Net 16,
             Input/Output Channel Delay                                                                                        effects built-in, analog modeled compressors, EQs. Channel Move can
                                                                                                                                               move channels for layout reorganization.

                                                                                                                           Touch panel display, 4 stereo inputs, 3 mini-YGDAI expansion card slots,
                                                                                                                            16 mix buses, 8 matrix buses, an L-C-R bus, 8 DCAs, 16 omni outputs.
                                                                                                                           Built-in power supply is backed by an optional single or double failsafe
                                                                                                                                                    external PW800W PSU.

                                                              1 AES-3 Output, optional MY-Card Interfaces: AES-3,
4 SPX Effect Processors + 4 31-band Graphic EQ + Out-
                                                              CobraNet, Ethersound, ADAT, TDIF, MADI, A-Net 16,
                    put Port Delay
                                                                                                                               The LS9 consoles can be used as auxiliary mixer/channel expanders for
                                                                                                                               the M7CL and PM5D consoles. It features built-in MP3 recorder and the
                                                                                                                                 same sound quality, built-in effects, EQ, and dynamics as the M7CL.

                                                                                                                                                2008 JUNE                 35
          Road Test

Aphex 230 Master Voice Channel                                                                                                               By LarryHall

Aphex 230 Master Voice Channel

       ometimes a piece of gear comes           layout makes the function pretty self-             Remember all of the warm fuzzy          through a couple of blankets. No expla-
       along that looks kind of cool, but       evident, and it is real easy to use. I don’t   love you used to get with a good analog     nation needed.
       you look at the modest price and         think I ever cracked the manual.               console? Well, it is back, but with a lot        So now I own six of them. And don’t
  think “What’s the catch?” Most of the             Before we get on to the gig section        more headroom and deep, rich tone and       tell Marvin, but I am planning on buying
  time there are several catches. Not this      of this Road Test, a small disclosure. Be-     texture. Did I mention you get a sweet      at least five more this year for our rental
  time…                                         fore I was asked to do the review, I al-       EQ and all of the other cool Aphex toys     stock. I recommend the Aphex 230 for
                                                ready owned a 230, which I had bought          such as an Aural Exciter, Big Bottom,       everything from your home project stu-
  The Gear                             RT       for my home studio. If you look for the        Gate, Compression and High Pass? Basi-      dio to a major studio. From big tours
      The Aphex 230 Master Vocal Chan-          230 online you will find it listed under       cally all of the REAL channel strip stuff   to little bar bands. This will make your
  nel is a bunch of tools in one rack           recording and broadcast, but not live          in a high-dollar unit — except the 230 is   home studio sound real and your “mil-
  space. It is tempting to just look at it as   sound. I actually never thought about          surprisingly affordable. Big bang for the   lion dollar” PA sound like, well, 1 bil-
  a tube pre-amp, but that’s a mistake. It      taking it out live.                            buck! By the end of sound check I really    lion dollars! OK, maybe not that good,
  also includes dynamics processing and                                                        needed one for all 40 of my inputs.         but pretty close. What the audio world
  parametric EQ plus an insert point — in       The Gig                               RT           I was so impressed with the one unit    needs is more 230s!
  short, everything you need for a real              I was so blown away by its overall        that I bought five more to use with an
  vocal channel. In addition to an analog       performance and punch that I finally           old school R&B vocal group that I work
  out, you get three flavors of digital outs    brought it to a gig where I mixed front        with weekly. It is at the point where I
  as well.                                      of house for a pretty famous pop singer.       literally don’t want to do a gig without                         What It Is:
                                                                                                                                                           Vocal magic in a box. Tube
      The front panel is an old sound guy’s     She was kind enough at sound check             them, and they are now the preferred                     pre, compressor, gate, de-esser,
  dream. Look ma, no menus! Just some           (yes, she even showed up) to let me put        vocal processor on my rider. At a recent               EQ, Aural Exciter and Big Bottom.
  buttons to engage or bypass the 230’s         it in and out of her channel so I could        gig, another sound guy asked what was
                                                                                                                                                   Who It’s For: Anyone who wants
  various functions and real, honest-to-        hear the difference between the 230            so great about the 230s. The timing was            their vocals to sound great.
  God knobs for making adjustments. The         and the digital console I was using.           perfect because the show was coming
                                                                                                                                                 Pros: Simple layout, awesome
                                                                                               to an end and the five singers — all              sound, reasonable price.
                                                                                               on 230s — were leaving the stage as
Remember all of the warm fuzzy love you                                                        the keyboard player walked them off.              Cons: You’ll want one for
                                                                                                                                                 every channel.
                                                                                               “Ladies and gentlemen, the legendary
used to get with a good analog console?                                                        “insert name of famous old school R&B                How Much: $799 MSRP
Well, it is back, but with a lot more head-                                                    group here.” Same mic model through
                                                                                                                                                       Web site:
                                                                                               the same system, but the singers had            
room and deep, rich tone and texture.                                                          sounded fantastic and it sounded like
                                                                                               the announcer was talking into the mic

   36         JUNE 2008
                                                                                                                                                                         Road Test

  Klark Teknik Square One Splitter                                                                                                                            By MarkAmundson

Klark Teknik Square One Splitter

           hen I think about the Square One        of the transformers for net -6 dB loss driv-         On the rear panel, the expected IEC pow-           I put the Square One Splitter out on
           Splitter from Klark Teknik, it re-      ing 600-ohm or higher output loading. The       er inlet jack feeds a 25-watt switcher power       a couple of gigs, doing the classic FOH/
           minds of the comedians that par-        inputs are directly connected to the rear       supply for the Square One Splitter, having a       monitor split function, and auditioned
ody the kitchen utensil gadgets advertised         panel inputs so users can choose where to       100 to 240 VAC input voltage range for uni-        the results during the line checks and ac-
on TV. “It slices, it dices, it…” is pretty much   clutter up the panels with connections.         versal acceptance. The remaining part of the       tual performances. I found the preamps
the same with this splitter, as its engineers          The eight Midas preamps are worth           rear panel consists of three rows of eight XLR     sounded smooth and were without any
were given some liberty to add features be-        the cost of a Square One Splitter alone, as     jacks, with the top two rows being the A and       “flavors” in their usage, both in frequency
yond a mic-level XLR active splitter.              they are the same circuits used on the flag-    B groups of preamped outputs (XLR-M). The          response and distortions. While I did not
                                                   ship XL8 digital console. After the phan-       bottom row is the paralleled group of inputs       need a whole lot of gain in these gigs, I
 The Gear                                RT        tom supply switch, each channel has a           (XLR-F) replicating the front panel inputs.        did play with the gain controls and at-
    Occupying two rack spaces, the Square          5,000-ohm input impedance that splits off            But there is more! Each output group          tempted to find audible differences when
One Splitter has eight channels, including         the signal to variable gain preamp and the      has recessed ground lift switch for opening        running hot or at low levels. The fact that
a Midas XL8-derived mic preamp for each            transformer buffer preamp. The variable-        pin 1 connections to reduce or eliminate           I failed to note differences speaks well of
channel. And “splitter” is not a truly ade-        gain preamp is not controlled with po-          hum sources. And the switches also illumi-         the preamp quality.
quate description of the unit, as it has dual      tentiometer, but an eight-position switch       nate a red LED as a warning indication. And             On the bench, I checked the gains
inputs (front and rear), preamped dual out-        choosing preamp gains from unity to +40         the Square One Splitter also doubles at a          and THD distortions; I found them accu-
puts and a third transformer-isolated set of       dB in 5 dB increments. By switching gain        press box splitter by using another recessed       rate and within the 0.02% THD specifica-
fixed gain outputs for recording purposes.         increments instead of infinite variability,     switch near the bottom row of XLR connec-          tions, respectively. Overall, the Square
                                                                                                   tors, which takes the channel 8 input and          One Splitter is well worth its $1,425
                                                                                                   shares its post variable gain preamp output        street price, and a natural “must-have”
I found the preamps sounded smooth and                                                             to the other seven channels of outputs, cre-       for most large sound companies’ gear
were without any “flavors” in their usage, both                                                    ating a 1 In x 16 Out Media splitter for press     inventories.
                                                                                                   conference-type applications.
in frequency response and distortions.                                                                                                                Contact Mark at
                                                                                                   The Gig                                  RT
                                                                                                        The Klark Teknik Square One Splitter has
Then there are the goodies on the preamp           the preamp provides superior gain accu-         all kinds of possible uses beyond the appli-
section, like a 0 to 40 dB gain control, +48       racy and even better common-mode noise          cations described above. You could use the                            What it is:
volt phantom power switch, 30 Hz high-pass         rejection over the other potentiometer          Square One Splitter as an on-the-fly mini-                         Mic splitter on Steroids
filter switching, 4-LED bargraph metering          implementations.                                mixer to a powered speaker-on-a-stick appli-
and a solo switch that routes to an onboard            After the variable gain preamps, the        cation, especially if equalization is not a high             How much: $1,583 MSRP
headphone amp for local monitoring.                30 Hz, two-pole (12 dB/octave) high-pass        priority. Obviously, the intent of the unit is
                                                                                                                                                             Pros: High audio
     The Square One Splitter front panel is        active filters are selectively switched along   to reside onstage near patch-central for re-              quality, much
split in half, with 16-XLR connectors on the       with the solo switching. Thankfully, no         ceiving sub-snake inputs and dividing up to               flexibility, fair price.
left side and the eight mic preamps plus the       mute switch is implemented or we would          the front-of-house and monitor snakes, plus
headphone amp on the right. The left side          have another system tech nightmare to           an optional transformer isolated split for a                Cons: None, if
contains two rows of connectors, with eight        deal with. Just before the dual balanced        recording interface. Another application is                  you can live
                                                                                                                                                                  with purple
mic input jacks on the bottom row (XLR-            output line buffers, the 4-LED bar graph sig-   to use multiple Square One Splitter units as                       cosmetics.
F), and eight transformer-isolated outputs         nal pickoff is done, with -15, 0, +12 and +21   golden mic preamps in front of a digital mix-
(XLR-M) on the top row. These outputs are          dB levels over a pair of green, single yellow   ing console that may have a lesser-quality
electronically buffered on the primary side        and single red LEDs, respectively.              mic preamp needing substitution.

                                                                                                                                                                                                    Ad info:http://
          Product Spotlight

KSC Industries
                                                                                                      Sometimes it is hard to figure out how
                                                                                                       to write about a company even when
                                                                                                           they make a really good product.
Digmoda Plate Amps with DSP Engine
By BillEvans

       SC Industries has been around for a       and were ready to show me the results.
       long time, but chances are that while          But first they sat me down at the com-
       you have used their stuff, you have       puter and let me play with the program. I
never heard of them. That’s because they         was able to start tweaking the tuning of
are an OEM company. They make stuff that         the box within five minutes. You read that
other companies put their names on and           right — the learning curve is almost zero.
sell as their own. In fact, we are using stock   If you know how to use a compressor and
photos here because I had to take care not       an EQ you will master the Digmoda soft-
to shoot someone else’s box while working        ware in minutes.
with this new system. Again, OEM compa-               Later, we took the two cabinets — one
nies are very discrete about who their cus-      still stock and the other with the Digmoda
tomers are or they don’t last long, and KSC      corrected settings — outside for a side-
has been around for 37 years.                    by-side comparison. The Digmoda wiped
                                                 the floor with the stock amp. In fact, it
What It Is                              ps       made these high-level MI but not really
    The Digmoda system is a line of plate        pro boxes sound good enough to take out
amps — made for installing directly into         on a real gig.
a speaker cabinet — with a powerful DSP               And here is the part I really liked. You
engine that can be purchased separately.         can create and save different setting for
In other words, Digmoda is the active part       the software and “flash” it to the boxes in
of an active speaker system. And they are        seconds via a straight USB connection.
good amps, but nothing you can’t get from        This means that if you are a rental com-
somewhere else. They use the same ICE-           pany and are sending boxes out on a hip-                                  Digmoda Plate Amps with DSP Engine
power modules from B&O that power lots           hop or metal show where you know they
of active systems. The thing that makes          are going to get pushed really hard, you

The thing that makes this system special
is the Digmoda software engine and its
DSP hardware — and the Digmoda DSP
just flat-out rocks.

this system special is the Digmoda soft-         can put a nondefeatable limiter IN THE
ware engine and its DSP hardware — and           BOX and protect your drivers no matter
the Digmoda DSP just flat-out rocks.             what anyone tries to do with the system.
    The real difference between this and         If you are sending the same boxes out
most everything else out there is ease of        on an acoustic gig, you can change them
use. Trying to adjust the crossover or delay     over for a less-restricted response and
on an active speaker is all but impossible       make the change in just minutes.                                                           Digmoda software
on most models and most mfgs would go                 If you build your own active boxes,
ballistic at the thought of anyone trying to     these are worth a look. If you are a manu-
do so. But what is “ideal” as far as settings    facturer who is looking for an OEM solu-
go for one gig or soundco may not be right       tion, the DSP and software of the Digmo-
for another.                                     da system will give you something that
    When first talking with the guys at          no one else is offering — total control and
KSC and trying to figure out how to really       flexibility in an active box. The Digmoda
check out their product, we were coming          DSP engine can be purchased separately
up blank at first. Then I remembered that        and used with any amplifier system. The
way back in the dark recesses of my ga-          Digmoda plate amps in 2- and 3-channel
rage was a set of three-way active speak-        configurations are available from stock
ers gathering dust. I offered to truck them      and the subwoofer version is ready for
down from Vegas to Chula Vista (outside          production and will be available shortly
of San Diego), and KSC offered to supply         in limited supply.
the truck. The idea was to measure the
speakers with the stock amps and settings
and then switch them out with a Digmoda                                                              Digmoda Plate Amp
plate amp and compare.
    The Digmoda plate amps come in sizes
from 250 to 2,000 watts at four ohms and
the software is the same for all systems.
What you get are all of the tools you need
to voice — and protect — speakers. This in-
cludes dual-threshold compressor/limiters
and 16 configurable filters per channel.

How We Used It                          ps
    I dropped the cabinets off in the late
afternoon and checked into my hotel. I
had some dinner with the guys and got
some sleep. By the time I arrived at about
10 a.m. the next morning, they had already
measured the speaker with the stock amp,
switched it out, corrected it via the software

   38         JUNE 2008                                                   
                                                                                www.fohonline .com
Ad info:
                                           Welcome To My Nightmare

                                 This Is Why I Don’t Do Rock ‘n’ Roll
                                                                                                                                                                                 ing, but workable mix. About three songs into
                                                                                                                                                                                 the show, the band started playing their big
                                                                                                                                                                                 hit. The crowd started jumping in unison and
                                                                                                                                                                                 the energy level in the place started achiev-
                                                                                                                                                                                 ing LA riot levels. As I mentioned, our FOH
                                                                                                                                                                                 position was right in the middle of the main
                                                                                                                                                                                 floor, so I was really getting the full rock ‘n’ roll
                                                                                                                                                                                 sound guy experience now.
                                                                                                                                                                                      Then, faster than you can imagine, the
                                                                                                                                                                                 bicycle rack barriers around our FOH posi-
                                                                                                                                                                                 tion gave way to the weight of the crazed
                                                                                                                                                                                 teenagers, and they start literally spilling
                                                                                                                                                                                 in toward us. A wave of youths crash into
                                                                                                                                                                                 the back of the console and the desk slides
                                                                                                                                                                                 about three feet toward us. The EZ-tilt was
                                                                                                                                                                                 now like a toboggan. It comes to rest still
                                                                                                                                                                                 upright. We’re trying to comprehend what
                                                                                                                                                                                 just happened then we see the console
                                                                                                                                                                                 start slowly tilting backwards. Three of us
                                                                                                                                                                                 grab for it, but there’s no way to stop this
                                                                                                                                                                                 behemoth from moving. It goes crash-
                                                                                                                                                                                 ing down on its rear, and I had no doubt
                                                                                                                                                                                 in my mind that the 400-pound console
                                                                                                                                                                                 was crushing some poor teenager. So now
                                                                                                                                                                                 my rock ‘n’ roll experience has gone from
                                                                                                                                                                                 pretty cool to pretty terrifying. A couple of
                                                                                                                                                                                 us stood on the EZ-tilt stand while a few
                                                                                                                                                                                 others lifted the console upright. We were
                                                                                                                                                                                 all so filled with adrenaline that I bet one
                                                                                                                                                                                 of us could have single-handedly lifted the
                                                                                                                                                                                 desk at that moment.
                                                                                                                                                                                      By the grace of God, we found no
                                                                                                                                                                                 teenagers under the console, and nobody
                                                                                                                                                                                 even had a scratch on them. The FOH en-
                                                                                                                                                                                 gineer yelled into the VOG mic to stop
                                                                                                                                                                                 the show; we picked up piles of teens and
                                                                                                                                                                                 repaired the barriers. All of the connec-

                                    work in an audio/visual department at       — four punk bands playing at a medium-               Then I started to get some exposure         tors were absolutely fine on the back of
                                    Harvard University. My clients are bril-    sized club in Boston. Perfect! I couldn’t ask   to the flip side of the coin. I started to see   the desk, so the show went on without
                                    liant economists, poets, physicists and     for a better introduction to the world of       the security staff arrive for their shift, and   another hitch. After the commotion died
                                 historians. On any given week, I’m knee-       rock ‘n’ roll sound than a punk show.           I started to wonder why there were hordes        down, I started having daydreams of be-
                                 deep in Noble Prize winners. I’ve pinned            The sound company owner was a great        of them. Oh, yeah, punk show. They opened        ing back working those organic chemistry
                                 mics on Mikhail Gorbachev and Yo-Yo Ma.        guy — taking the time to give me various        the doors and our FOH position was en-           lectures and quickly determined that the
                                 But what kept popping into my dreams           tips and tricks that you just don’t pick up     gulfed by throngs of teenagers amped up          rock ‘n’ roll scene just isn’t for me. But, as
                                 at night? Mixing for a rock ‘n’ roll band. I   in the Ivy League lecture halls. Things like    for the show. About three minutes before         if the rock ‘n’ roll gods were saying get out
                                 mean, come on, you can only sit through        how to route the snake run around the           the show started, I was introduced to the        and stay out to me, I kneeled down to dis-
                                 so many high-level organic chemistry           probable beer spillage areas, and how to        concept of the band bringing its own FOH         connect some cables from the back of a
                                 lectures before you start yearning for the     work with the grizzled old ex-REO Speed-        engineer. He appeared 15 years old, and ob-      rack after the show and realized I had just
                                 world of rock ‘n’ roll.                        wagon roadie that was now our stage-            viously got the job because he let the band      placed my knee in a nice pile of vomit. So,
                                     So, I put the word out on the audio mes-   hand. The load-in went as planned, and we       use his parent’s basement to practice.           it’s back to the ivy-covered walls and lec-
                                 sage boards that I was looking to shadow       set up the FOH position on the main floor            It was painfully obvious that the FOH en-   ture halls for me!
                                 a sound guy in the Boston area: free labor     surrounded by bicycle rack security barri-      gineer was overwhelmed by the Soundcraft
                                 in exchange for a day in the trenches. An      ers. The sound check rolled along pretty        Series Five console, but it was even more            Mike Tomei
                                 owner of a regional sound company e-           smoothly, and we all broke for dinner be-       painfully obvious that he wouldn’t accept  
                                 mailed me and offered to let me tag along      fore the show. I was really digging this rock   help from any of us. The show got started and        Harvard University
                                 for a show he was working that Saturday        ‘n’ roll lifestyle.                             the band’s engineer settled into a nasty look-       Cambridge, MA

                                                                                                                                                                                         Start Your

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                                     40        JUNE 2008                                             
                                         In The Trenches

    Evan Lineberry
Audio Engineer
Evan Lineberry Productions
Charlotte, N.C.

Services: Freelance audio for concerts,
video, churches, etc.

Clients: A-1(audio for video), Black
Enterprise Entrepreneur Conference,
Charlotte Convention Center), Morn-
ingStar Ministries Healing Conference          video, which I was a part of. The church
(Fort Mill, S.C.), Elevation Church (Char-     was and still is a major conference cen-
lotte, N.C.), Upcoming gigs include the        ter doing multi-day conferences each
Asheville Music Jamboree, Ernest Leon-         month. I went completely freelance in
ard Ministries & the Cornelius Connec-         December and am on my way to de -
tion International Network Summit.             veloping contacts and companies to
                                               work for. I currently freelance as an
Quote: “Work hard, create energy, don't        A-1 front-of-house mixer for most cli-
complain, do it up and be thankful. In         ents, but also do A-2 work and monitor
the end, if the people are jamming then        mixing. My goal now is buying gear to
you got the job done.”                         make myself a better candidate for cli-
                                               ents, but I have to start somewhere. I
Personal Info: I am 26 and live in             have worked fulltime in audio for over
Charlotte, N.C. I’ve been married              three years and also mix front of house
for 3.5 years and have an almost 2-            and monitors at one of Charlotte's big-
year-old daughter. They are my life.           gest music venues, the neighborhood
When I was younger, I went to ministry         theatre.
school where the church had concert-
style production with front of house           Hobbies: Reading, writing, my family,
and monitor consoles. I ran monitors for       Jesus, my iBook, photography, listen-
three years for up to 12 mixes, wedges         ing to music, being a part of live music,
and in-ears for several services a week        Law & Order, Animal Planet and the His-
and different bands each service. I like       tory and Discovery channels.
to say this honed my senses. I then got
a full-time job for a sound production         Equipment: Yamaha M7CL, Heritage
company in Charlotte where the focus           3000, Verona 58-channel, Soundcraft
was corporate audio, and I learned the         Spirit, Ramsa S40, basically whatever con-
ins and outs of audio and video.               sole each production has for me to use.
From there, I worked at MorningStar
fellowship church as the live sound            Don’t leave home without: Light,
engineer and volunteer instructor, re-         tape, tools, Real-time analyzer, tone
sponsible for several reinforcement            generator, headphones (if possible),
systems. The church also did audio for         Mac iBook.

    Robert “Void” Caprio
Chief Engineer
Interzone Studios
West Babylon, N.Y.

Services: Live and studio sound/produc-

Clients: Push Play, Hot Action Cop, Nokia
Theater, Irving Plaza/Fillmore NYC.

Quote: “Better to ask a stupid question
than to remain stupid.”

Personal Info: Twenty years of experience in
world-class studios and 10-plus years of ex-
                                                                                            Ad info:http://

perience in live sound.                        speakers, TC Electronic, PreSonus, Tri-
                                               dent, Neumann, Shure, AKG, Sennheiser,
Hobbies: Hockey, martial arts, music, travel   many others.
and food.
                                               Don’t leave home without: Multi-tool,
Equipment: Digidesign HD2 Accel w/             Sharpies, pain reliever, sunscreen, iLok,
C/24. Soundcraft GB2, Crown amps, JBL          USB thumb drive.
       Regional Slants

                                                   Brings the Sound
                                                   of Integrity
                                                   to Eastern Tennessee
                                                                      This small town A/V company started with local church gigs and eventually
                                                                      landed one of the largest college concerts in the country.

                    Bill Evans
 Text and Photos By BillEvans                                                    The AVI family (L-R): Jeremiah Nave, Aaron Free, Jacob Mathews, Chris Burks, Natasha Tenney, Owen Johnson, Garrett Harris, Jeremy
                                                                                 Godsey, Chris Collins, Chris Taylor, Rob Abercrombie.

       he e-mail was unusual in that it           So about six weeks later, there I was        person I saw with a radio if he could di-                          “For two years, we didn’t do any-
       came from an unexpected source.                                               air
                                              standing in the Johnson City, Tenn., air-        rect me to Rob and he pointed toward                           thing,” Garrett recalls. “And when we
       I get notes all the time looking for   port waiting for my ride to the venue to         the surfer-looking kid from the night                          did work it meant going back to Nash-
coverage of some show or another, but         cover Audio Video Integration’s work on          before. When I started talking to Rob,                         ville.” There was one AV company in the
80% come from the PR department of            a Carrie Underwood show at East Ten- Ten         he quickly steered me toward the other                         general area already and only so much
some audio manufacturer, while the rest                                             sur
                                              nessee State University. Yes, I was sur-         kid from the restaurant and the runner,                        business. But eventually the gigs started
come from someone at one of the big           prised to be there, but that was just one        Chris. It was only at that moment that                         coming — slow and small but coming.
touring companies. Occasionally, I’ll get     of a series of surprises.                        I figured out that these two “kids” were                       And this being rural eastern Tennessee,
a call from a church or performing arts                                                        Chris Taylor and Garrett Harris — co-                          it comes as no surprise that most of the
center looking for coverage of an install.    Non-Arrogance of Youth               pp          owners of Audio Video Integration.                             gigs were in churches. They began ac-
    “I am very proud to announce that              I was met at the very small airport by           Friends from high school, Chris and                       quiring more gear, but still making the
the small AV company I work for will be       Chris, who looked to be about 20 years           Garrett went off to different colleges,                        trip to Nashville more often than either
putting on this year's largest college        old. He said he would get me to my ho-  ho       but both eventually ended up working                           of them wanted to.
concert in the country,” wrote Produc-        tel, and I would meet the rest of the crew       up the road a piece in Nashville. After                            Sounds like the story of many a failed
tion Manager Rob Abercrombie. Had to          in the morning. After an hour or so of           nearly a decade of working for others,                         soundco, doesn’t it? So how, in just six
be an overstatement, but he got my at-        driving around lost (by myself — I had           touring and working in town with a                             years, did AVI go from scrambling for
tention through a combination of humil-       to go back to the airport to retrieve a          series of Nashville acts, they both de-                        gigs to giving instructions to Carrie Un-
ity (“how can we get a snippet in FOH?”       forgotten piece of luggage) and calling          cided that they wanted to get back to                          derwood’s Clair Bros. touring crew? For
he asked) and gonads (“or a cover sto-        Chris to guide me back, he had me meet           the small town where they grew up. So,                         that info we need to get “Ludacris.”
ry?”). I e-mailed back and told Rob how       him at the restaurant he was at with the         they moved to Johnson City and started
to send us info for a Showtime listing        rest of the AVI crew. Sure enough, there         up AVI.                                                        Banned In the Bible Belt                          pp
or perhaps a small news story. Then, as       was Chris along with a couple of other                Today, AVI is well stocked and busy                           “The university here puts on a con-
more of an afterthought than anything,        kids. I was introduced, but the names rere-      with a Renkus-Heinz PN102LA self-pow-                          cert for the students every year,” explains
he added that I could cover it myself if      ally didn’t stick. It had been a long day        ered line array and subs along with in-                        Chris. “It’s a free show — If you have a
someone else were to foot the travel ex-      and I just wanted to get some rest.              dustry standard dynamics and signal ro-                        student ID you can get a ticket — and
penses. Small company, small town — I              Fast-forward to late the next morn-
                                                                                   morn        cessors and a nice selection of mics. They                     the past few years, they have really been
figured it would never happen and that        ing when I walked across the street from         even have their own stage and lighting.                        stepping up the level of acts they are
I was safe.                                   my hotel into the venue. I asked the first       But it was not always thus.                                    bringing in.”

After nearly a decade of working for others, touring and working in town with a
series of Nashville acts, they both decided that they wanted to get back to the
small town where they grew up. So, they moved to Johnson City and started up AVI.

 42        JUNE 2008                                             
                                                                     “Nashville is still right up
                                                                     the road, and by renting
                                                                     what we need, we can
                                                                     always meet the rider. It
                                                                     keeps us flexible and has
                                                                     allowed us to grow other
                                                                        parts of our business.”
                                                                                  – Chris Taylor
View of the stage.

       Not only are the shows free, but the          most of their club gigs, kept their church   ager Chris Taylor was busy dealing with              Oh, that and supervising a full produc-
   university administration also lets stu-          business, and added the university and       Fed Ex about a shipment of flat screen           tion crew from some of the biggest produc-
   dents vote on who they want to bring in.          a good deal of commercial install work.      TVs for an install at a string of Chili’s res-   tion companies in the world as they prepared
   Three years ago, the verdict was rapper           (While we were in countdown mode for         taurants that was scheduled to begin             for a show by an A-list country act. And they
   Ludacris. “The shows used to be held in           the Underwood show, AVI’s Install Man-       the next morning.)                               say you can’t go back home…
   a smaller venue up the street called Free-
   dom Hall Civic Center,” Chris continued.
   But all was not peaceful in Johnson City,
   and some members of the local religious
   community had issues with the rapper ap-
   pearing in town. With so much of the local
   business being church-based, the estab-
   lished company in town made the safe call
   and backed out along with the venue.
       “They moved the show into the
   field house here,” Garrett says, gestur-
   ing around the cavernous building that
   presently houses Underwood’s very
   large stage. “We got the call and came in
   and did the show.” Was there fallout from
   their church clients? “We did have some
   clients who had a problem with us doing
   the gig,” says Chris. “But,” interjects Gar-
   rett, “we just told them that he was a cli-
   ent like any other client. Just because we
   did his sound did not mean we approved
   of what he was saying.”
       It seemed to work — the company
   lost none of its church business. Ironical-
   ly (and this may have something do with
   AVI keeping its church business), some
   local churches set up a protest concert
   of sorts on the other side of campus. And
   the sound company was? Yep. AVI.
       From that point, things kind of
   took off and the trips to Nashville be -
   came fewer and fur ther between. The
   following year, the university brought
   in the Goo Goo Dolls, and AVI got the
   bid. The show went well enough that
   they now have a five -year contract
   with the university as its exclusive
   audio provider.

    From New Kids To Big Kids               pp
        Soon there was more work than the duo
   could handle alone. Today, AVI has several
   full-time employees and are in the process
   of opening an office in North Carolina. But
   while their inventory has grown along with
   their business, they have taken an unusual
   stance of owning no large consoles. That’s
   right. Zero. None. Their console inventory
   consists of a Soundcraft GB8-40, 40-channel
   FOH console and an Allen & Heath GL2400,
   32-channel monitor desk. Nothing fancy.
   Nothing digital.
        “Nashville is still right up the road, and
   by renting what we need, we can always
   meet the rider. It keeps us flexible and has
   allowed us to grow other parts of our busi-
   ness,” says Chris.
        But success has not been without its
   issues. “I had a heart attack two years
   ago,” says Garrett (who is 38). “Slowed
   me right down. We were doing a concert
   on Satuday until 3 a.m. and then had to
   be back out for a church gig at 5:30. I was
   catching a couple of hours of sleeping on
   a couch in the office.” AVI has dropped
                                           The Bleeding Edge

                                                                                                                                                                 By SteveLaCerra

                                 Untie Me a Ribbon
                                        very once in a while it’s nice to look       Well, as with moving coil and con-        tages. The high-frequency response of a              At the Fall 2007 AES Convention,
                                        over your shoulder and see how far       denser microphones, the principle be-         ribbon mic tends to be very smooth and          Crowley and Tripp (www.soundwave
                                        technology has progressed. In the        hind the ribbon microphone is essen-          musical, and since the ribbon is relatively introduced their el Diablo
                                 audio world that progression accelerates        tially the same now as it was in the early    light in weight, the transient response of      microphone. This microphone uses the
                                 at an alarming rate, bringing us better and     1930s when RCA introduced the 44A. A          the ribbon is much quicker than that of         Crowley and Tripp’s proprietary Rosw-
                                 better technology at lower and lower pric-      flat piece of metal is loosely suspended      a moving coil mic. If you’ve never tried        ellite ribbon material, a high-strength,
                                 es with increased reliability, while break-     within a magnetic field. When sound hits      a ribbon on an electric guitar amp, you         shape-memory ribbon technology de-
                                 ing the sound barrier between studio and        that metal (the ribbon) it vibrates, mov-     owe it to yourself because it’s a wonder-       signed to hold up under high-SPL situa-
                                 live sound gear. Although this is also true     ing back and forth within the magnetic        ful thing. There are, unfortunately, a few      tions. El Diablo can be used close-up on
                                 of microphones, the basic principles of mi-     field, thus creating voltage at the ends of   disadvantages of using ribbon mics. The         kick drum, horn and loud electric guitar
                                 crophone technology have not changed as
                                 radically as other areas of audio.
                                      Dynamic microphones still operate us-        These companies have addressed two very important
                                 ing electromagnetic induction, and the ba-
                                 sic concept of the condenser microphone
                                                                                   issues that otherwise would keep ribbon mics off the live
                                 is pretty similar to what it was when it was      performance stage: output level and durability.
                                 first invented [FYI, Western Electric devel-
                                 oped a condenser microphone circa. 1917,
                                 and Neumann developed and marketed the          the ribbon. Incredibly enough, that volt-     output level of most ribbon microphones         amplifiers, as well as for vocals on open,
                                 CMV3 circa. 1928]. Of course, microphone        age is a pretty darn good representation      is very low, requiring a preamp with a lot      outdoor stages without worry that the
                                 technology has become incredibly refined        of our audio signal. That this concept        of gain and very low self-noise. Ribbons        ribbon will break or stretch. Roswellite
                                 over the years. We have stable and durable      works so well is not as amazing as the        tend to be delicate, so much that a blast       is also used in a version of Crowley and
                                 materials for diaphragm construction. Exot-     fact that it works at all.                    of air can stretch or even snap the ribbon,     Tripp’s Naked Eye, a microphone that
                                 ic magnetic metals yield increased output.                                                    rendering it useless.                           features what the company calls True
                                 Capsule construction has become a science       Pros and Cons                       TBE           For those reasons, engineers have           Dual Voicing, whereby each side of the
                                 unto its own, producing better sound, reli-        Microphone aficionados have ob-            been cautious regarding the use of rib-         microphone delivers a distinct tone. The
                                 ability and consistency. So where does that     served that ribbon microphones have           bons, and even through the mid-1990s            front side of the mic provides a “classic”
                                 leave the ribbon microphone?                    some distinct advantages and disadvan-        ribbon mics weren’t very popular (though        ribbon response tailored for electric gui-
                                                                                                                               beyerdynamic continued to market their          tar, while the back of the mic has a signif-
                                                                                                                               ribbons throughout that time, and still         icantly brighter, rising curve that mimics
                                                                                                                               do). In the late 1990s, ribbon microphones      the frequency response of high-quality
                                                                                                                               experienced a resurgence in popularity. At      vocal condensers. The Naked Eye’s high-
                                                                                                                               the forefront of this renewed interest were     output, low-noise ribbon and high-
                                                                                                                               AEA and Royer Labs, both of which are           efficiency transformer enable the mic to
                                                                                                                               American companies that are well known          be matched with just about any mic pre-
                                                                                                                               for manufacturing ribbon microphones            amp used for stage or studio.
                                                                                                                               of modern design. They have since been
                                                                                                                               joined by Crowley and Tripp, Cascade and        Endless Offerings                     TBE
                                                                                                                               Nady, plus a plethora of other companies             No discussion of ribbon microphones
                                                                                                                               that re-badge Chinese-manufactured rib-         would be complete without looking at
                                                                                                                               bon microphones.                                the offerings from AEA (Audio Engineer-
                                                                                                                                                                               ing Associates,
                                                                                                                               A Ribbon Resurgence                   TBE       AEA’s R92 Big Ribbon mic is optimized
                                                                                                                                    And why should we care? Because these      for close miking at distances from three
                                                                                                                               companies have addressed two important          to eighteen inches. At such close range,
                                                                                                                               issues that otherwise would keep ribbon         some mics exhibit a ton of proximity ef-
                                                                                                                               mics off the live performance stage: out-       fect, making the instrument sound mud-
                                                                                                                               put level and durability. Royer Labs (www.      dy. The R92 was engineered for reduced
                                                                                                                      manufactures several mod-        proximity effect, so it can be used at close
                                                                                                                               els of ribbon mics that became popular for      range without over-exaggerating the low
                                                                                                                               studio use such as the R-121, SF-12 and the     frequencies. AEA designed the R92 to pro-
                                                                                                                               active R-122. The R-122 was probably the        duce different frequency responses from
                                                                                                                               first “active” ribbon mic ever produced: It     the front and rear of the microphone. The
                                                                                                                               contains a phantom-powered preamp used          front side is the “crisp” side while the rear
                                                                                                                               to increase the output level, and it has an     is the “smooth” side, which, according to
                                                                                                                               impedance matching circuit that makes it        AEA, has a bit of a classic ribbon high-
                                                                                                                               useful with just about any preamp. These        end rolloff that can help handle harsh
                                                                                                                               mics were mostly intended for studio use.       transients in a refined and flattering way.
                                                                                                                                    Last year, Royer introduced their Live     The AEA 92 is capable of handling SPL up
                                                                                                                               Series of microphones. Based on their stu-      to 135 dB, which should be enough for
                                                                                                                               dio models, the Live Series mics employ a       most lead guitarists. If it’s not, then you
                                                                                                                               thicker, more robust ribbon that retains the    can consider AEA’s R84, which is rated to
                                                                                                                               sonic characteristics of the studio models.     handle SPLs up to 165 dB above 1 kHz.
                                                                                                                               So far there are three mics in the Royer             The ability to use ribbon microphones
                                                                                                                               Live Series, including the R-121, R-122 and     onstage is a wonderful option for engineers
                                                                                                                               SF-24. Perhaps most interesting is the SF-24    because they produce tones unlike what we
                                                                                                                               phantom-powered stereo microphone. The          already get from moving coil dynamic and
                                                                                                                               SF-24 employs two matched ribbon capsules       condenser microphones. Now that the ma-
                                                                                                                               mounted one atop the other in a Blumlein        jor issues of durability and low output have
                                                                                                                               coincident pair (two bidirectional micro-       been addressed, there’s no reason not to try
                                                                                                                               phones crossed at an angle of 90 degrees).      a ribbon mic for use on stage.
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                                                                                                                               This allows an engineer to place a single mi-
                                                                                                                               crophone overhead for stereo pickup of (for     Steve “Woody” La Cerra is the front-of-
                                                                                                                               example) a drum kit and/or cymbals, while       house engineer and tour manager for Blue
                                                                                                                               obviating the need to tediously tweak two       Öyster Cult. He can be reached via email at
                                                                                                                               mono mics into position.              

                                    44         JUNE 2008                                             
                                       Theory and Practice

                                                                                                                                                           By MarkAmundson

                                 Rider-Friendly Gear
                                       he topic of “rider-friendly” gear      idea that industry consensus takes time        Your Customers                     tp       ing to cause you some problems. And
                                       is an ageless debate among             to build. Great examples of rider-friend-         The tough question to ask of             B-level acts are pretty flexible on gear
                                       sound company personnel, and           ly gear are EAW KF850 speakers, Ya-           yourself is, “are you after A and B-level    brand names.
                                 a beauty contest of what is currently        maha SPX-990 multi-effects processors         acts, or are your current and future             B-level acts are great places to
                                 rider-friendly and what is not. In this      and Klark-Teknik DN360 dual graphic           customers local acts without much            break into the rider-friendly busi-
                                 column, I will throw out some thoughts       equalizers. All of these items are nearly     technical specifics on production?”          ness. These acts are typically rising
                                 on rider-friendly, and see if the reader-    20 years or more in service to the pro        While you may fantasize about pulling        stars or former top acts (A-level) that
                                 ship can concur.                             audio consumers, but very few profes-         down regular touring acts with your          are making a graceful decline in show
                                                                              sional act production crews will object       C-rig while taking every club gig that       business. In any case, they are generic
                                 Quality or Capability               tp       to these gear items. Granted we have          pays, paying up for rider-friendly           but picky about what you have to of-
                                     When a fledgling sound company           tour grade line arrays, higher-fidelity ef-   gear may turn your profitable, small         fer, and generally have good experi-
                                 chooses its gear, just having something      fects and digital equalization available,     business into a money-losing hobby. If       enced-based instincts if you are going
                                 that fills a basic capability is the game.   but the risk is that the wrong gear for       you are on the verge of chasing after        to come up short in a rider-specified
                                 We all know the infamous MI brands           the rider may come up and bite you.           infrequent B-level acts in small festivals   technical aspect.
                                 and the types of speakers, consoles,
                                 signal processing and accessories that                                                                                                  Building In the Basics              tp
                                 are provided by the weekend warrior             As a live sound company transitions                                                          Thankfully, most B-level act riders
                                 sound companies (anklebiters). Ex-                                                                                                      are getting more production provid-
                                 amples like piezo drivers on wedges,            from capability to more quality                                                         er-friendly by specifying capabilities
                                 15-band graphic equalizers, carpet-             performing gear, the “rider-friendly”                                                   and mentioning less specific brands.
                                 covered main speakers and an out-                                                                                                       A good example is contract rider verb-
                                 board rack that looks more appropriate          question begins gnawing on the                                                          age like “shall provide a house speaker
                                 for a guitarist than serious sound rein-        subconscious of ownership making                                                        system capable of 100 dB SPL peaks in
                                 forcement are common. These are dead                                                                                                    the back seats of the venue”. It sounds
                                 giveaways for a soundco still in the "ca-       new gear decisions.                                                                     fairly straight-forward, but if you do the
                                 pability" stage of the business.                                                                                                        acoustics math you may suddenly re-
                                     As a live sound company transi-                                                                                                     alize that you need 140 dB+ of SPL (at
                                 tions from merely capable to more                If you do not have many clues on          or special events in medium clubs, do a      one meter) mains speakers or additional
                                 quality performing gear, the “rider-         what is rider-friendly gear, you can use      sanity check first using typical B-level     delayed rear-fill cabinets to get the re-
                                 friendly” question begins gnawing on         the Internet review act/agent Web sites       acts that frequently come into your          quired SPL to the rear seating. Beware
                                 the subconscious of ownership mak-           or rifle through your recent stash of A       region of the country.                       of the technical rider words, as they can
                                 ing new gear decisions. Media such           and B act riders to gain this knowledge.          For example, I know a well-known         catch you at a point of weakness.
                                 as FOH are great at showing you the          So, if you’re bent on procuring rider-        rock/country B-level act that has a rider,        When thinking rider-friendly, be
                                 newest offerings from the live sound         friendly gear, do not look at eBay pro        and in that rider there is need for: de-     thorough when running through your
                                 gear manufacturers, but are these of-        audio listings. Rather, check out the         cent FOH and monitor consoles (VCAs          gear list. Are your stage monitors bi-
                                 fers rider-friendly? The answer is often     more popular acts in the FOH Showtime         at FOH), six monitor mixes to 10 tour-       amped and configured with enough
                                 no, at least not immediately.                section and similar rundowns of gear          grade quality bi-amp wedges, quality         cabinets with 15” plus 1.4” horn throat,
                                                                              from other trade magazines. You can           sidefill speakers, and plenty of famous      or double 12” plus 1.4” horn throat, tour-
                                 Old School                          tp       take chances on new gear, but it is not       brand mics, DIs and stands. If you do        grade cabinets that can be physically
                                    By definition, rider-friendly gear        the kind of gambling I would do if rider-     not have the majority of these items,        abused by artists standing on them? Are
                                 tends to be older gear, just from the        friendly is the quest.                        then bidding that show next time is go-      your wireless mics of tour-grade quality
                                                                                                                                                                            with diversity receivers, plus enough
                                                                                                                                                                            of them for acts with multiple-lead
                                                                                                                                                                            vocalists plus a couple back-up units?
                                                                                                                                                                            Do you have the middle- to high-end
                                                                                                                                                                            analog or digital FOH console with
                                                                                                                                                                            the standard premium-quality name
                                                                                                                                                                            dynamic processors from Europe,
                                                                                                                                                                            and the same for equalizers, plus the
                                                                                                                                                                            standard top names in digital reverbs
                                                                                                                                                                            and delays? Does that console have
                                                                                                                                                                            at least 32-channels going back to
                                                                                                                                                                            the stage? Can your monitor console
                                                                                                                                                                            handle a half-dozen stereo in-ear
                                                                                                                                                                            mixes with six equalizers and reverbs
                                                                                                                                                                            enough to get the job done? Are your
                                                                                                                                                                            racks and stacks of the popular brands
                                                                                                                                                                            and tour-grade lines, or are they mu-
                                                                                                                                                                            sic-store brand offerings in disguise?
                                                                                                                                                                                In general, think like a tour man-
                                                                                                                                                                            ager/production person for a B-level
                                                                                                                                                                            act; and scrutinize how your equip-
                                                                                                                                                                            ment list fares. Sound companies tak-
                                                                                                                                                                            ing on A-level acts do not get much
                                                                                                                                                                            accommodation, and are expected
                                                                                                                                                                            to have rider-friendly gear top to
                                                                                                                                                                            bottom, plus artist special requests.
                                                                                                                                                                            There is nothing wrong with gear not
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                                                                                                                                                                            rider-friendly, just keep that gear in
                                                                                                                                                                            the shop or out on those club gigs
                                                                                                                                                                            where it belongs.

                                                                                                                                                                           Contact Mark at

                                 46        JUNE 2008                                             
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                                           The Biz

                                 Every Dinosaur                                                                                                                                                   By DanDaley

                                           Has Its Day
                                         f the top 10 music touring acts         1960/70s and the 1990s and a one-off to     Buffett — six of the top 10 who had                                   The Future                             BIZ
                                         on Pollstar’s chart as of late April,   support their remarkable 2007 album. It     their first hits before 1975.                                              So, who’s going to keep the engine
                                         two date back to the 1970s (the         might also be keeping Robert Plant’s            The fact that the modern concert                                  of live performances running? Radio-
                                 Eagles, Bruce Springsteen & the E Street        pipes in good shape after Led Zeppelin’s    industry has consistently been fueled                                 head? Green Day? Carrie Underwood?
                                 Band); two more hit their peaks in the          reunion concert late last year in London,   by artists that have been around for                                  Hannah Montana?
                                 1980s (Metallica, Van Halen); the 1990s         which has raised rampant speculation        decades is a topic that’s come up fre-                                     Don’t laugh — Miley Cyrus booked
                                 are represented by the Dave Matthews            about a Led Zep tour going out later in     quently and plenty of explanations are                                $36 million in tickets sales last year, put-
                                 Band, Pearl Jam, Counting Crows, Radio-         2008 or in ’09 (despite Plant’s denials).   available, including the Boomer phe-                                  ting her tour at number 16 for the year.
                                 head and the Stone Temple Pilots.                                                           nomenon and the subjective but per-                                   Country music also seems to be putting
                                     The tenth touring act, the duet out-        Relying on Revenue                 BIZ      sistent assertion that they simply made                               more of its minions into the top of the
                                 ing by Robert Plant and Alison Krauss               But what the list does underscore       better music back then. The point isn’t                               mainstream touring charts: Tim McGraw,
                                 at number 10, is kind of a hybrid of the        is the fact that the music industry has     to marvel at how long one can keep                                    Faith Hill, Rascal Flatts and Toby Keith
                                                                                 come to rely more and more heavily on       touring, but rather to ponder how                                     all made the top 20 in 2007, with Brad
                                                                                 revenues derived from live performanc-      much longer they — and fans willing to                                Paisley and Keith Urban showing strong
                                                                                 es, specifically lengthy tours, at a time   pay huge sums for tickets — can keep                                  increases. Another trend is the increas-
                                                                                 when many of the biggest ticket-makers      it up.                                                                ing popularity of spin-offs from other
                                                                                 are artists whose origins can be carbon-                                                                          media. American Idols Live, Dancing
                                                                                 dated. What happens when those artists      Ticket Sales vs. CD Sales         BIZ                                 With the Stars and High School Musical
                                                                                 reach the point at which they cannot or        In a reversal of for tune from the                                 The Concert all made Pollstar’s top 50
                                                                                 (authentically) do not want to subject      early days of rock , when the top tour-                               tours for the year.
                                                                                 themselves to the rigors of the road        ing bands also had the top -selling re -                                   The future of live touring music
                                                                                 anymore?                                    cords, headlining tours came hot on                                   might be more like the way the pre-
                                                                                                                                                                                                   recorded music business is headed: a
                                                                                                                                                                                                   smaller core of best-selling artists sur-
                                                                                  Who ’s going t o keep t he engine                                                                                rounded by a huge mass of mid-market
                                                                                  of live performances running?                                                                                    acts working on an increasingly regional
                                                                                                                                                                                                   basis. Pollstar’s 2007 year-end analysis
                                                                                  Radiohead? Green Day? Carrie                                                                                     shows a fall-off in ticket sales by nearly
                                                                                  Underwood? Hannah Montana?                                                                                       2 million tickets sold, centered mostly in
                                                                                                                                                                                                   the mega-gross category. That suggests
                                                                                                                                                                                                   that the mega-touring artists — the still
                                                                                     The respec t-your- elders theme         the heels of initial record sales suc-                                robust relics of past decades — are both
                                                                                 has been in place for some time. In         cess. The Beatles, for instance, led the                              slowing down and are not likely to be
                                                                                 2007, of the nine top - grossing music      Nor th American tour char ts in 1964                                  replaced on the same scale.
                                                                                 tours (I’m leaving out Cirque Du Soleil     and 1965 even as they were char ting                                       There are two key trends to be aware
                                                                                 for obvious reasons), four — The Po -       a string of hits on the radio. (No point                              of. First, the number of festivals is increas-
                                                                                 lice, Genesis, Rod Stewar t and Roger       in repor ting grosses since the value                                 ing. New entrants this year are Outside
                                                                                 Waters — accounted for about $464           of the dollar has changed so radically                                Lands Festival in San Francisco, headlined
                                                                                 million, nearly 60 percent of the ap -      since then, but their 1964 U.S. tour                                  by Beck, Wilco, Radiohead and Tom Petty;
                                                                                 proximately $803 million the top nine       repor tedly had cash advances larger                                  Mile High Music Festival in Commerce
                                                                                 totaled for the year. The previous          than any in enter tainment histor y                                   City, Colo., with the Dave Matthews Band,
                                                                                 year, the Rolling Stones led the pack       at the time.) But the music industr y                                 John Mayer and Tom Petty; All Points
                                                                                 with $437 million (total for the Bigger     has also changed radically, with pre -                                West Music & Arts Festival in Jersey City,
                                                                                 Bang tour that k icked off in 2005), fol-   recorded sales plummeting steadily                                    N.J., headlined by Radiohead and Jack
                                                                                 lowed by Madonna’s Confessions tour,        since 2002. Fall Out Boy was one of                                   Johnson; and Rothbury Festival, in Roth-
                                                                                 who booked $195 million in ducats.          the few new ac ts that could correlate                                bury, Mich., with Matthews, John Mayer
                                                                                 The year had lots of other aging (or,       good tour numbers to good (relatively                                 and Widespread Panic. Secondly, festivals
                                                                                 if you prefer, ageless) touring suc-        speak ing) CD sales in 2006. The band                                 are less and less peripatetic than in past
                                                                                 cesses including Bon Jovi, Aerosmith        grossed $11 million in sales, but more                                years. Lollapalooza transformed from a
                                                                                 and Motley Crüe. Back in 2005, it was       impor tantly, they sold nearly 400,000                                traveling circus to a permanent fixture in
                                                                                 U2, the Eagles again, Paul McCar tney,      tickets, which was more than all but                                  Chicago’s Grant Park.
                                                                                 Rod Stewar t, Elton John and Jimmy          eight ac ts on the Top 100 that year.
                                                                                                                                                                                                   Regional Aggregation                   BIZ
                                                                                                                                                                                                       This regional aggregation of live mu-
                                                                                                                                                                                                   sic has implications for the live sound
                                                                                                                                                                                                   business. The larger players will need
                                                                                                                                                                                                   more systems for more and smaller
                                                                                                                                                                                                   shows and will have more competi-
                                                                                                                                                                                                   tion at the regional level, thanks to in-
                                                                                                                                                                                                   creasingly sophisticated and less-costly
                                                                                                                                                                                                   technology. Festival contracts will be-
                                                                                                                                                                                                   come more crucial and could start to
                                                                                                                                                                                                   be locked up for years at a time. Digital
                                                                                                                                                                                                   FOH and monitor consoles have already
                                                                                                                                                                                                   transformed the festival business by
                                                                                                                                                                                                   making changeovers vastly faster, al-
                                                                                                                                                                                                   lowing more stages and performers at
                                                                                                                                                                                                   these gatherings, another factor that
                                                                                                                                                                                                   will continue to boost festival growth.
                                                                                                                                                                                                       The end of the Paleolithic era of live
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                                                                                                                                                                 Ad info:http://

                                                                                                                                                                                                   music is inevitable and, in the long run,
                                                                                                                                                                                                   positive, allowing the live music industry
                                                                                                                                                                                                   to evolve along the same lines as the re-
                                                                                                                                                                                                   corded music business. But I’d still like to
                                                                                                                                                                                                   see Led Zeppelin one more time…

                                                                                                                                                                                                   Contact Dan at

                                    48         JUNE 2008                                           
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                                      Sound Sanctuary

                           Know Your                                                                                                                               By JamieRio

                              know it may seem a little over the top to   of microphones, I would encourage you             Next, we have the cardioid pattern.        mic cable, but some models have battery
                              spend an entire article on microphones,     to pick up some of your own. Good mics        Sound is picked up in a heart-shaped           compartments. Now that we have a basic
                              but these are probably the most impor-      are always a valuable commodity in any        area in front of the mic. This type of mic     over view of mic types and mic patterns,
                           tant tools you have, especially in a house-    sound reinforcement setting.                  is unidirectional as opposed to omni (fig-     let me give you a few examples of how I
                           of-worship setting. We will be covering                                                      ure it out). This is by far the most popu-     use my microphones.
                           the three popular types of pickup or polar     Polar Patterns                       ss
                                                                                                                        lar pattern. It can be used for preach-            As I said earlier, you may not have
                           patterns and dynamic microphones versus            OK, let’s take a look at the three dif-   ing, singing and miking of instruments.        the luxury of being able to walk into a
                           condenser microphones.                         ferent types of polar patterns and what       Generally, the cardioid pattern has good       house of worship with a road case full of
                               I will not be discussing brands and        they are good for. The first polar pattern    feedback rejection. Lastly, we have the        mics, but I do. And when I have a choir in
                           models of mics, as there are just too many     I will choose is the omni-directional mic
                           to touch on. If you are a hired gun, mean-     pattern. Omni means “all” (like God being
                           ing you do not belong to a particular con-     Omnipotent), which explains why the mic
                           gregation but you work as a mixer, you         picks up sound in a 360-degree spherical         Unless your particular house has
                           should have a selection of mics with you       pattern. I only use this type of mic for my
                           every time you mix. If you are part of the     live worship recordings. I like to use one       a vast selection of microphones,
                           church membership and are either paid          or two out in the room while I am recod-
                           for your services or you volunteer your        ing a service. I can get live sound off the      I would encourage you to pick up
                           skills, you probably use the mics that are     stage and also the reaction of the congre-
                           already at your house of worship. Unless       gation. For anything else, this type of mic      some of your own.
                           your particular house has a vast selection     is subject to too much feedback.

                                                                                                                        Supercardioid pattern. This is another         front of me I will put up two really nice
                                                                                                                        unidirectional mic, but with a more nar-       condenser mics on two mic stand just in
                                                                                                                        row sound pickup in that now familiar          front and above the choir. At one of my
                                                                                                                        heart shape in the front of the mic. And       churches they already have a couple of
                                                                                                                        a slight bit of pickup directly behind the     choir mics hanging from the ceiling. In
                                                                                                                        mic. This type of mic can be used any-         this senario, my two mics just pick up a
                                                                                                                        where the cardioid can, but I like them        little more of the choir and add to the
                                                                                                                        for miking guitar amps or drums where          richness of the singers.
                                                                                                                        I want a little extra isolation. That pretty        Speaking of singers, I work with a
                                                                                                                        much gives you an idea of the types of         six-singer, ten-piece gospel band and I
                                                                                                                        polar patterns, so why don’t we look at        use a different condenser mic for one
                                                                                                                        dynamic and condenser microphones.             of the female singers who has a great
                                                                                                                                                                       voice, but not a lot of horsepower. A
                                                                                                                        Dynamic Versus Condenser              ss
                                                                                                                                                                       good condenser mic can certainly pump
                                                                                                                            Dynamic mics are the most common           up your vocalist. It is also nice to have a
                                                                                                                        type of microphones used in live sound         good pair of condensers for any of your
                                                                                                                        applications. First and foremost they are      percussion micing needs. All the afore-
                                                                                                                        very durable. Church mics can receive          mentioned condenser mics have a car-
                                                                                                                        some very harsh physical treatment. A          dioid pattern.
                                                                                                                        good dynamic mic can endure a fall, an               I do, however, use a condenser with a
                                                                                                                        orator’s spit and even double as a ham-        supercardiod pattern in cases where I really
                                                                                                                        mer in some occasions. You can find de-        want to isolate a guitar amp, an acoustic
                                                                                                                        signs for almost any application and they      guitar sound hole and the occasional violin,
                                                                                                                        can sound very good.                           viola or cello. That particular mic I don’t use
                                                                                                                            Condenser microphones for the most         very often, but it sure is nice to own it.
                                                                                                                        part are the second choice for sound en-            With my dynamic cardioid micro-
                                                                                                                        gineers. To my ears, a good condenser is       phones, I will bring them out for solo
                                                                                                                        better sounding than a good dynamic            singers, various guitar amplifiers and
                                                                                                                        mic. They are also more able to pick up        specific drum miking.
                                                                                                                        sound from a distance. You will find that           Just having some extra microphones
                                                                                                                        all top-quality choir and podium mics          can make your job easier and more fun.
                                                                                                                        are condenser. They are typically smooth       If you are a hired gun or a paid church
                                                                                                                        and natural sounding. The one draw             member, good mic will make you the
                                                                                                                        back is they tend to be more suscep-           king of your mixing environment. If
                                                                                                                        tible to damage. It’s not a good idea to       you work as a hired gun, a reputation
                                                                                                                        drop a condenser mic or get is wet. How-       for bring extra (and cool) mics will cer-
                                                                                                                        ever, there are some very tough ones           tainly increase your business. So, if you
                                                                                                                        out there on the market that can take          already own mics, please bring them to
                                                                                                                        as much of a beating as a dynamic mic.         your worship sound gigs. If you don’t
                                                                                                                        Don’t forget all condenser microphones         have your own microphones, think
                                                                                                                        need a power source. Usually, it comes         about getting some.
                                                                                                                        from a phantom power supply built into
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                                                                                                                        your mixing console via your balanced          You can e-mail Jamie at

                                 50      JUNE 2008                                            
                                           To Advertise in Marketplace, Contact: Leslie Rohrscheib • 702.932.5585 •

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                                                                                                                                              By BakerLee

                                                        A Trip To the
                                                                   “ L i b r a ry ”

                                                                                                                                              Andy Au
    take a fair amount of pride in my writ-                                                                                                             the room until 5:30 p.m., or, in real time, af-
    ing, so I was humbled when an audio                                                                                                                 ter the other AV Company was out. When
    engineer with whom I was working                                                                                                                    that moment came, the Waldorf team would
with told me he enjoyed my column in                                                                                                                    quickly set up the stage; the catering depart-
FOH and that it made for great reading                                                                                                                  ment would start to set up the room; and we
while on the crapper. Although storing                                                                                                                  would work around the new video company
FOH in the bathroom — whether it’s on                                                                                                                   as we labored to set up sound and backline in
a tour bus, a venue or in an audio shop                                                                                                                 a timely fashion. Due to the way in which the
— seems totally logical, his comment,                                                                                                                   other event was booked, we needed to load
nonetheless, seemed like an underhand-                                                                                                                  in at 12 p.m. so that we could beat the 2 p.m.
ed compliment. My first reaction, after all,                                                                                                            dock shutdown. However, we were required
is that I am an author who writes words                                                                                                                 to store the gear in one room away from the
that convey lofty ideas. I articulate the                                                                                                               first event until 4 p.m. when we were allowed
inexpressible. I transmit cosmic truths to                                                                                                              to stage the gear next to the ballroom. I had
thousands of readers who hang on my ev-                                                                                                                 hired an eight-man crew for an eight-hour
ery word — and this dumb schmuck reads                                                                                                                  load-in and four-hour load-out. There were
my vaulted letters while sitting on the                                                                                                                 also two A-1 technicians, one A-2, one back-
toilet. The nerve of him! OK, I’m humbled.                                                                                                              line tech and myself.
It’s neither the first time, nor will it be the                                                                                                              The system we brought in for this par-
last time, and I’m sure I’ll recover. After all,                                                                                                        ticular event consisted of a Clair Brothers
humbling experiences are often a chance                                                                                                                 12AM monitor rig for the stage and 10 L-
to reevaluate one’s perspective and grow                                                                                                                ACOUSTICS 108 self-powered speakers for
past previous misconceptions.                                                                                                                           a front-of-house system. These 108s were
                                                                                                                                                        placed against the upstage wall spaced out
Humbling Experiences                    FOH                                                                                                             at a distance of approximately 20 feet apart
     Speaking of humbling experiences, per-                                                                                                             down the length of the wall, or four per side
spective and misconceptions, I was recently                                                                                                             with two speakers on stage as near fills for
contracted to provide audio for a show that          As we spoke, the full scope of the event                                                           the dance floor. It was absolutely the perfect
took place at the Waldorf Astoria. I was                                                                                                                system for the needs of this particular event
contacted by the tour manager of a Turkish
                                                     was revealed to me and it wasn’t pretty.                                                           since the speakers are low profile and provide
band by the name of POW, or Painted on                                                                                                                  a great sound and coverage. Two Electro-
Water. The band featured a woman by the                                                                                                                 Voice self-powered subs were used on either
name of Sertab Erener, who is described on             All well and good, but my “red flag”        time constraints or demands by the band,             side of the stage to handle the low end. The
the Eurovision Web site as “the Turkish diva       sensor had been triggered when I was in-        the doors were to open at 7:30 sharp. This           whole system was driven from one PM5D
that brought the Eurovision Song Contest           formed of a 5 p.m. load-in and 7:30 doors.      is why, after seeing the band’s rider, the AV        placed just outside the ballroom with the
to Istanbul in 2004.” For those who may be         So, with only a three-day notice before the     representative from Presentation Services            150-foot snake run around the perimeter of
unfamiliar with the competition, Eurovision        event, I decided to investigate. On my first    told the band to call me.                            the room from the console to the stage. The
Song Contest has been in existence since           trip to the Waldorf, I met one of the event                                                          crew worked quickly and efficiently, and with
1956 and has taken place in many Europe-           managers from the hotel, as well as my          All That Jazz                          FOH           precision planning, we were set up and ready
an countries as well as Jerusalem. It is the       friend Michael from Presentation Services,           As it turned out, Ertegun had personally        to go with 15 minutes to spare.
longest-running show on television and is          the in-house AV Company. We went to the         chosen a society jazz band to play at all his
akin to American Idol in terms of its popu-        event site, the Starlight Ballroom, which is    Foundation events, which had already been            No Music In the PA                     FOH
larity. Playing the show with Sertab Erener        approximately 120 feet by 35 feet. The hotel    booked for the evening. They were easygo-                 The distinguished guests filed in and
was an all-star Turkish band that also in-         agreed to provide a 24-feet by 12-feet stage    ing and let me know that they could play on          found their seats. The jazz band took the
cluded such jazz luminaries as Al Dimeola          placed against the wall in the middle of the    whatever gear was available. I was in charge         stage and smoothly executed such standards
and Dave Weckl.                                    room facing the entrance. There was to be       of providing all the backline, and the opening       as “Georgia On My Mind” and “What a Won-
                                                   a small dance floor directly in front of the    band’s compliance gave me the hope that the          derful World.” The mix was great, the coverage
                                                   stage; the rest of the room would be filled     stage changeover would go smoothly, espe-            was perfect, the volume seemed fine and all
COMING NEXT                                        with rounds (tables) that could seat 10. As     cially since POW’s rider requested seven mix-        was good in Mudville. That was when one of
                                                   we spoke, the full scope of the event was       es and 12 wedges on stage plus a sub for the         the event planners came up to me and asked
MONTH...                                           revealed to me and it wasn’t pretty.            drumfill. Unfortunately, “seamless transaction”      to have the sound turned down. I had our
                                                                                                   was not meant to be — Dave Weckl insisted            engineer lower the volume, and the event
Regional Slants                                    The Plot Thickens                     FOH       upon using his own kit, which, of course, he         planner came back to me to tell me that the
LD Systems does lots of gigs, but                      Apparently, the American Turkish So-        would not share or move. This meant I was            music was still too loud. Again, we dropped
they are known far and wide for                    ciety sponsored the event in honor of the       required to bring a second set of drums for          the volume, much to the chagrin of the FOH
the Houston Rodeo.                                 successful partnerships of two huge con-        the opening band and place them in front of          engineer, only to have the event mistress re-
                                                   glomerates, GE and Dogus Group. This gala       the Weckl kit and strike them off to stage left      turn and demand that we lower the volume.
                                                   was to be attended by nearly 400 leading        upon completion of their set. The event plan-        We took everything out of the mix except the
                                                   executives from both the American and           ners did not want any time between bands,            vocals, and shortly after that, Dave Weckl in-
Road Test                                          Turkish business communities, as well as        but regardless of how they tried to explain          formed us that there was no music in the PA.
Parnelli winner Bob Heil is still                  dignitaries from the U.S. and Turkish gov-      to POW that a 15-minute changeover would                  By the time POW hit the stage, two-thirds
making some great mics. We’re                      ernments. The chairman of the Society was       lose the crowd, there was no way to dissuade         of the room had cleared and the mood was
gonna take a couple out and try                    none other than the late Ahmet Ertegun,         Weckl from his position.                             solemn. The sound was kept in check accord-
to break them.                                     founding chairman of Atlantic Records.                                                               ing to the needs of the grand affair. Regard-
                                                   That said, the plot thickens. As it was told    What a Trip                            FOH           less of how brilliant the musicians were, how
                                                   to me, apparently, the Dogus Group has in           Load-in to the room was a trip from the          well we executed the staging of the show,
Buyers Guide                                       their contract that POW is to play at any and   loading dock to the 18th floor and then a push       how superb the system could have sounded
It is an easy part of the rig to                   all events that include the Dogus Group.        across the hotel, which is a good city block.        or how astute the engineers were, there are
overlook. Until you need it and it                 Not wanting to insult their honorary guest,     Because the loading dock at the Waldorf is           simply times when one’s ego must be set
                                                   the Turkish Society accepted this stipula-      closed between 2 p.m. and 5 p.m., we could           aside for the greater good. It’s a humbling
isn’t there. Hello? We’re talking
                                                   tion from the Dogus Group, although they        not access the ballroom until 5 p.m. when the        moment, but quite frankly, I would have
intercoms here...
                                                   insisted that the event was to be seamless      other event (did I mention the other event?)         probably enjoyed that whole event while
                                                   in every way possible, and regardless of        ended. This meant that we could not get into         sitting on the crapper.

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