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 May 2017

Vol. 15.08
FRONTOFHOUSE
w w w. fo h o n l i n e . c o m

In the News
Lawsuit Filed in Fyre
5 Festival Fiasco

Tony Awards to
5 Reinstate "Best Sound
Design" Honors

Clair Global Acquires

5 Britannia Row
Productions

Buyers Guide
48 Active Direct Boxes

52

Road Test 34 FOH INTERVIEW Yamaha TF Rac

Rack

Ashly digiMix24
53 Live Digital Console

FOH Stanley Miller on 49 Years of Mixing Neil

COVER PHOTO BY ARI MICHELSON

inside this month

38 40 46
Production Profile Installations FOH Interview
Game of Thrones Live Sports Facilities Joe Lamond and Terry Lowe
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 MAY
2017

CONTENTS Vol. 15.08

fohonline.com

Features
26 Show Report: Surprises at NAB 2017 52 Road Test: Yamaha TF Rack
Its mainly a broadcast show, but we found plenty of Vince Lepore dives into Yamahas latest digital
action with live consoles and new wireless systems. console, which puts its popular TF mixer into a
rack mount package.
28 More New Products
A look at some of the other technologies that have 53 Road Test: Ashly digiMix24
been emerging beyond the NAB 2017 show. Ashly re-enters the digital console market with
a compact system that packs a powerhouse
34 FOH Interview: Neil Diamonds 50th into a small footprint.
Anniversary Tour
FOH legend Stanley Miller reflects on his 49 years at
the helm with Neil.
Columns Columns
38 Production Profile: Game of Thrones Live 54 On The Digital Edge: Off-Time Projects
David Morgan finally gets a few days off between
Its just another 156-input show as VER Tour Sound
tour outings. But R&R is not on his list, as he dives
takes this live concert experience on an arena tour
into a serious research project on taking acoustic
in the round.
guitar reproduction to the next level.

40 Installations: Sports Facilities

We check out seven examples of the state-of-the-art,
55 The Biz: Finding Jobs
Dan Daley looks into the modern methods of getting THEATER SOUND:
with each new audio system designed to take the
50
that next gig. Online, of course but also on the go, SUNSET BOULEVARD
fan experience to the next level.
with the emergence of mobile apps. Mick Potter talks about sound design
for this revival featuring Glenn Close.
44 Installations: South Carolina House of
58 Sound Sanctuary: IEM Transition Tips
Representatives Chamber Vince Lepore, our man in the pews, offers advice on
Upgrading a historic building is one thing, but this steering your musicians and praise band away from
one features 150 mics, feedback-free P.A. coverage, loud wedge monitors and toward in-ears.
a DSP-driven system with spatialization to locate
any orator, and more.
60: FOH at Large: Economics 101
Baker Lee explains why some basic rules about costs
46 FOH Interview: Joe Lamond & Terry Lowe and cash flow always apply yes, even in the live
FRONT of HOUSE publisher Terry Lowe and NAMM audio business.
CEO Joe Lamond talk about industry changes in-
cluding the NAMM Shows expansion into pro audio/
lighting and the Parnelli Awards move to NAMM.
Departments
48 Buyers Guide: Active Direct Boxes
4 Editors Note 24 On the Move 58 Ad Index THEORY & PRACTICE:
56
Direct Boxes are an absolute production essential.
5 Industry News 28 New Gear SURVIVING FESTIVALS
We look at top models from 15 manufacturers. 59 Marketplace
20 Global News 32 Showtime Festivals can be fun for the fans, but
sometimes less so for the FOH engineer.
FRONT Of HOUSE (ISSN 1549-831X) Volume 15, Number 8, May 2017, is published monthly by Timeless Communications Corp., 6000 South Eastern Ave., Circulation Publishers of...
Suite 14J, Las Vegas, NV, 89119. Periodicals Postage Paid at Las Vegas, NV and additional mailing offices. POSTMASTER: Send all UAA to CFS. NON-POST-
Business, Editorial & Advertising Office
AL AND MILITARY FACILITIES: send address corrections to FRONT Of HOUSE, P.O. Box 16655, North Hollywood, CA 91615-6147. Front Of House is 6000 South Eastern Ave. Suite 14J Stark Services
distributed free to qualified individuals in the live sound industry in the United States and Canada. Mailed in Canada under Publications Mail Agreement
Number 40033037, 1415 Janette Ave., Windsor, ON N8X 1Z1. Overseas subscriptions are available and can be obtained by calling 702.932.5585. Editorial Las Vegas, NV 89119 P.O. Box 16147
submissions are encouraged, but will not be returned. All Rights Reserved. Duplication, transmission by any method of this publication is strictly pro- North Hollywood, CA 91615
hibited without the permission of FRONT Of HOUSE.
Ph: 702.932.5585 Fax: 702.554.5340

2 MAY 2017 fohonline.com

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 EDITORSNOTE

Not as Easy as It Looks

A
s anyone who
By has produced
GeorgePetersen
a large (or
even small) concert
event can tell you, there are lots of details to
be taken care of. Fortunately, on the audio/
lighting/video/staging side, many such tech-
nical minutiae can be taken care of with a few
phone calls to the right vendors who will han-
dle such details professionally. In fact, if you
are looking for a few suggestions, more than
4,500 companies and resources offering ex-
pertise in every facet of event production can
be found using the Event Production Directory
(epdweb.com), a searchable database that is
available in print and as a free app.
Some Easy, Some Not So Easy
Doing an indoor event can be pretty
straightforward call the venue, book a
date and ask whether the facility has in-house
audio/lighting/video services. Many gear of-
ferings particularly in very large venues
tend to be pretty rudimentary, such as a
simple voice-only P.A. setup for lectures, etc.
However, most venues have a preferred ven-
dors list for A/V services of all types, so when
the client calls, things can run smoothly. The
same applies to outdoor venues whether
sheds, stadiums, raceways or amphitheaters.
The staff running such facilities have done it
all before and are, more often than not, re-
markably helpful.
Now if you want to do an event in some
kind of alternative outdoor locales park,
abandoned military base, farm, city streets,
waterfront, etc. that dont typically host
large events, then in terms of complex de-
tails, all bets are off. Perhaps Woodstock is
the best-known example, but the little (and
unglamorous) aspects of such productions
ranging from access control, security, park-
ing, sanitation, food, water, trash, medical,
power, fire/safety, parking lot lighting the
list is nearly endless can provide all sorts of
gotchas. And in such cases, we havent even
touched on variables such as the weather and
the neighbor factor, which invariably rears
its head when you start dealing with permits
and zoning issues.
Lessons from Fyre Festival
Recently, both news media and social me-
dia outlets were ablaze with commentary
about the failed Fyre Festival in the Bahamas,
which promised two transformative week-
ends, along with luxury accommodations,
gourmet foods and fun in the sun with non-
stop music, rock stars and supermodels. Pack-
age pricing ranged into the tens of thousands
(and more), including chartered jet airfare
from Miami.
Well, if you havent heard by now (see relat-
ed story, page 5 for more details) it didnt quite
come off as promised in fact, didnt come
off at all, and ended as a fiasco, with many
fans seemingly stranded on a barren seacoast
with unimpressive food, few of the promised
amenities and no mega-concerts.
Billy McFarland and rapper Ja Rule, who
created Fyre Festival, were immediately (and
unfairly) disparaged as scam artists who got
people to put up millions to attend an event
that never happened. And in American tradi-
tion, lawsuits quickly followed.
It is true that the site was not ready, and
the accommodations and catering were far
from complete, but the sound, lights and
staging were in place, were concert-quality
and were ready in time for the kick-off day.
Although at least one of the artists reported-
ly backed out under claims that the lighting/
audio production was not up to their stan-
dards, that seemed to be one of the festival
components that was most ready to deliver
as promised.
So the only crime that McFarland and
Rule committed was getting involved in a
project that was way over their heads in
fact, something that the most seasoned pro-
duction professionals would agree would be
difficult to pull off, even under best of condi-
tions. Add in the additional challenge of try-
ing to create a temporary city from scratch
or less than scratch, if you consider running
sanitation and water lines and the hundreds
of truckloads of sand brought in to cover the
rocky audience area even before building
on the festival grounds or providing hun-
dreds of tents.
No easy task, but add in weather problems
earlier in the week, and the fact that Fyre Fes-
tival was held in Great Exuma, an island thats
in a remote area of the Bahamas, some 300
miles off the U.S. coast.
Even from Nassau, Great Exuma is 140
miles away by boat/plane, and dealing with
customs, freight and logistics would be a
tough assignment by anyones standards, es-
pecially on a small island with few amenities
and a population of only 3,400.
So far, the word from McFarland and Rule
is that they plan to reprise the event next
year this time from a U.S. location. No-
body wants to see anyone fail, and nearly ev-
ery festival has a rough start (maybe not all
quite as rough as Fyre Festival). So perhaps
next year well see with a little more at-
tention to details and planning a revived
event on U.S. soil. Hope it works next time.
Got a comment? Send George an email to
george@fohonline.com.
Catch Georges editorial commentary at fohonline.com/
foh-tv or click on the picture from your digital edition.

Fed.
MAY 2017
Vol. 15 8

President Terry Lowe tlowe@timelesscom.com

Group Publisher Greg Gallardo gregg@timelesscom.com

Editor George Petersen george@timelesscom.com

Managing Editor Frank Hammel fh@timelesscom.com

Art Director Garret Petrov gpetrov@timelesscom.com

Production Manager Mike Street mstreet@timelesscom.com

Production Artist Angela Marlett amarlett@timelesscom.com

Photographer Steve Jennings sjennings@timelesscom.com

Senior Staff Writer Kevin M. Mitchell kmitchell@timelesscom.com

Technical Editor Phil Graham pgraham@timelesscom.com

With its tiny size and feather weight, the Lectrosonics SSM bodypack transmitter
gives you the freedom of placement on your talent. Wig? Ankle? No problem. Associate Editor Debi Moen dmoen@timelesscom.com
And the SSM never heats up, so it can even go against the skin. The patented,
compandor-free Digital Hybrid Wireless transmission gives you the freedom
Contributing Writers Dan Daley, Steve La Cerra,
to choose your favorite lav or headset mic without concern for coloration. And
Lectrosonics has always been famous for freedom from RF problems, with the Baker Lee, Vincent Lepore,
SSM being no exception. Then theres the ability to use a smartphone app for David Morgan
changing settings, the wide 75 Mhz (3-block) tuning bandwidth, and the choice
of 25 or 50 mW RF power, right in the menu. Web Master Mike Hoff mike@mikehoff.com
Of course, you have the freedom to spend quite a bit more than the SSM on
other minature bodypack transmitters, but why would you? Sales Manager Matt Huber mh@timelesscom.com

Demo the Lectrosonics SSM and prepare to be amazed. Sales Manager Mike Devine md@timelesscom.com

Greater China Judy Wang C: 0086-13810325171

Worldwide Focus Media judy@timelesscom.com
<< Scan here to learn more about the SSM

www.lectrosonics.com or 1-800-821-1121 Office Administrator Naomi Crews ncrews@timelesscom.com

In Canada, call 877-753-2876

Made in the USA by a Bunch of Fanatics. In Europe, call +33 (0) 78558-3735
Vice President William Hamilton Vanyo wvanyo@timelesscom.com

4 MAY 2017 fohonline.com

 KANSAS IN AZ HOT IN CHILE
Sound Image provided VUE gear Audio-pro uses L-Acoustics K1 to cover
for a gig near Phoenix, Page 10 crowds at Lollapalooza Chile, Page 22

INDUSTRY & GLOBALNEWS

FOH engineer Jonny Lucas with the DiGiCo SD10 Tony Awards to Reinstate
Best Sound Design Awards

Biffy Clyro Jumps the Pond

NEW YORK On April 24, 2017,
the Tony Awards announced that the
categories of Best Sound Design of a
Play and Best Sound Design of a Mu-
sical, the two awards categories that
were eliminated, starting with the 2015
ceremony, will be reinstated for the
awards show in 2018, which honors
shows staged during the 2017-2018
season.
Sound professionals are hopeful
that the 71st annual Tony Awards, to
be broadcast live from Radio City Mu-
sic Hall on CBS on June 11 and hosted
by Kevin Spacey, will be the last where
these awards are absent from the cer-
emony.
The Tony Awards Administration
Committee said that, over the last 18
months, they had conducted an in-
LEE ALLEN

depth review of the categories along

NEW YORK Scottish rock band Biffy
Clyro, originally from Kilmarnock, Scotland,
are now on a big U.S. run until the end of May,
touring with DiGiCo SD10 consoles at FOH and
monitors.
FOH engineer Jonny Lucas and monitor
engineer Dan Speed are mixing the shows
featuring music influenced by metal, prog and
grunge acts ranging from Metallica to Rush to
Nirvana.
The Biffy crew members have been using
three separate rigs around the world, with two
duplicate systems which includes, in some in-
stances, the more compact SD10-24.
For the 2016 U.K. tour, all audio require-
ments were supplied by Skan PA Hire. Lucas
has been working with Biffy Clyro for almost a
decade.
I did my first show with them supporting
The Who at Marlay Park in Dublin in June 2007,
he recalled. There was no soundcheck, and
only a 20-minute changeover. It was a baptism
of fire!
This intense introduction has, no doubt,
prepared him for the bands continually hec-
tic schedule. His use of DiGiCo consoles has
given him the reliability he needs, helped him
refine his workflow and allowed for a relaxed
approach to his FOH duties, a welcome adjunct
given the scale of the shows he is working on
the band is well-known for packing out are-
na and stadium sized venues, including Lon-
dons O2 at the end of the U.K. tour.
Dan and I use the Gain Tracking facility with
up to 72 inputs from stage. There are several
output configurations which can involve L/R/
Monitor engineer Dan Speed
Sub, either analog or AES, and incorporate up
to 14 sub-mixed stems for broadcast feeds in
various scenarios.
Lucas said he finds Macros a particularly use-
ful feature and has them programmed to switch
Gain Tracking on or off, switch groups of input
channels to ALT input, change the view, save or
switch fader positions on extra vocals, etc.
continued on page 6
with all of the 24 competitive catego-
ries and decided that, like the awards
continued on page 8
Clair Global Acquires
Britannia Row
Productions
LITITZ, PA and TWICKENHAM,
U.K. Clair Global will acquire Britan-
nia Row Productions, the companies
announced. The move follows a stra-
tegic alliance that had been in effect
since the beginning of 2017.
Both companies see this as the
perfect way to expand and strengthen
their worldwide client base, allowing
them to offer consistent service in all
major territories, said Britannia Row di-

Event Organizers Attempt to Make Good on

rectors Bryan Grant and Mike Lowe in a
press statement released May 9.
The synergies weve experienced

Fyre Festival Fiasco; Major Lawsuit Filed

with the entire Britannia Row team
have been overwhelmingly positive,
added Clair Global president/CEO Troy
Clair. Culturally and professionally, we
LOS ANGELES Days after organiz- Local crew members said the main Creek, FL), Unreal-Systems
are on the same page. We are excited to
CRYSTAL BLEECHER

ers Ja Rule and Billy McFarland called off the
2017 Fyre Festival, slated for the weekends of
April 28-30 and May 5-7 on an island in the
Bahamas, attorney Mark Geragos filed suit on
behalf of plaintiff Daniel Jung, one of the at-
tendees who had flown to the site.
The suit, which alleges fraud and breach of
contract, seeks class action status and dam-
ages of more than $100 million. A crowd of
festival attendees spending thousands of
dollars on tickets and airfare had reportedly
arrived to chaos and confusion at a wind-and-
rain damaged festival site instead.
McFarland and Ja Rule blamed the fail-
ure on logistical challenges, made worse
by rough weather that flattened tents and
soaked mattresses shortly before attendees
arrived.
Citing their inability to, in effect, build a
city on the remote location in the Exumas
with little existing infrastructure, they prom-
ised full refunds and free VIP passes to the
next Fyre Festival, planned for 2018 in the U.S.
Although the earliest tweets suggested
that maybe the whole thing was an elaborate
scam, Ja Rule took to Twitter to issue a vigor-
festival stage was ready for use.
ous denial. That was backed up, in seems, by
crew members at the site, who noted that the
elaborate stage was fully functional before
the festivals scheduled first day of shows.
The organizers had also reportedly invest-
ed heavily in the preparations that included
a fresh layer of sand on the rocky limestone
site, toilet facilities and an ambulance.
Despite the storms, the Apex stage pre-
pared for the event withstood the winds, and
the lighting, sound and video rigs provided
by Zenith Lighting (Orlando and Coconut
(Doral, FL) and others were
used to feature local acts
performing limited sets on
the first night showgoers
arrived, according to one
crew member who spoke
to PLSN on the condition
of anonymity.
The crew member
added that there was
ample food and drink at
the event, but added that
while the shipping con-
tainers full of food had ar-
rived, some of the attend-
ees may have been given the same boxed
meals supplied to the crew instead of the
expected chef prepared meals.
Bad weather clearly posed a challenge to
the event, the crew member added. We were
supposed to arrive on Sunday (April 23) but
our flight was delayed till Monday, the source
said, adding that the load-in was challenged
by more bad weather, but that the stage sys-
tem was 100 percent operational before the
festival was slated to start.
bring this new level of global support
to our clients and better serve their
passions to advance this industry.
ClearOne Awarded
U.S. Patents, Issues
Infringement Complaints
SALT LAKE CITY, UT ClearOne
announced April 25 that the U.S. Pat-
ent and Trademark Office awarded
the company a new patent on echo
cancellation using beam-forming mi-
crophones from the U.S. Patent and
Trademark Office.
The patent, #9,635,186, is entitled A
Conferencing Apparatus that combines
a Beamforming Microphone Array with
an Acoustic Echo Canceller. The compa-
ny reportedly developed the new tech-
nology in 2010 and applied it to prod-
ucts released in 2012 and 2016.
continued on page 12

fohonline.com MAY 2017 5

INDUSTRYNEWS
In Memoriam: Paul ONeill, 61, Founder of Trans-Siberian Orchestra
TAMPA, FL Paul ONeill, a pro- and Criss Oliva in 1979. After Olivas death in
ducer, composer and lyricist who founded
Trans-Siberian Orchestra in the mid-1990s
and saw its twin holiday tours rise to enor-
mous success, died April 5 in Tampa, FL. He
was 61.
The entire Trans-Siberian Orchestra fam-
ily, past and present, is heartbroken to share
the devastating news that Paul ONeill has
passed away from chronic illness, the band
announced, in a brief note on their website.
He was our friend and our leader a truly
creative spirit and an altruistic soul.
A native of New York City, ONeill got his
start in the early 1970s, playing guitar with
high school bands. He moved on to folk
bands, then became a rock promoter for the
likes of Madonna and Sting in the 1980s.
ONeill worked as a producer for the
heavy metal band Savatage, founded by Jon
ing the perennial challenge of topping the
1993, Savatage band members performed
as Trans-Siberian Orchestra for the first time
in the mid-1990s, while also continuing to
perform as Savatage.
TSOs debut album, Christmas Eve and Oth-
er Stories, released in Oct. 1996, sold more
than three million copies (it was certified tri-
ple-platinum by the RIAA in late 2011).
Along with the critical and commercial
success of its albums, the bands touring
productions gained renown as a showcase
for lighting, laser effects and production de-
sign. To make the most of the limited holi-
day time frame, two tours dubbed East
and West have emerged as a prog rock
holiday tradition of sorts.
Rather than waning in popularity, these
tours have only grown more elaborate in
recent years, with the production team fac-
wow features of the previous years over-
the-top productions.
Last year turned out to be among TSOs
most successful. The bands total ticket rev-
enues, from 104 performances in 61 cities,
reached $55.3 million, putting the act at #25
on Pollstars 2016 Year End Top 100 World-
wide Tours chart.
TSOs website noted that, like one of his
muses, Ludwig van Beethoven, ONeill was a
creative force racing the clock with a debil-
itating illness.
At the time of his death, the TSO site
notes, ONeill had two rock operas in various
stages of completion Romanov: When
Kings Must Whisper, about the 1917 Rus-
sian Revolution; and an expanded rewritten
version of Gutter Ballet, both intended for
Broadway.

9 5 1 5 Biffy Clyro Jumps

G
TH C

N
OO the Pond

I
NAB B

T T
continued from page 5

S E D S
I use the notes window on my overview

R
screen for my scenes to remind me what is
scoped, when theres a mute state change or

A
fader ride that needs attention, he added.

D
This is also useful if the boys have a vocal

N
position swap planned. Copy Audio/Listen

A
to Copied Audio makes virtual soundcheck

T
recording and playback super easy. The con-

S
soles offline facility has saved me a couple of
times when Ive doubted the saved state of a
scene Im about to fire, or some news comes
in over comms that changes the outlook.
The ability to take the console offline, fire
a scene, edit and store the scene and return
to audio while the show is in full flow is also
really useful, he continued. Ill be honest, it
still raises my heart rate if its ever necessary,
but its not caused any issues so far.
Lucas SD10 is running on DiGiCos Stealth
Core 2 software upgrade.
I hadnt quite maxed out the previous
version, but now I dont need to think about
how much processing is left with Dynamic
EQ, multi-band comps, etc. it is available ev-
erywhere, he said. I also prefer the flattened
appearance of the GUI. I havent tried it yet
but, in theory, it means I could mix our show
on an SD11, although I like having the num-
ber of faders there are available on the SD10.
He also appreciates the support he gets
from both DiGiCo and Skan.
DiGiCo is renowned for its support and
the stability of its consoles, he said. I like
the workflow and flexibility they give me,
as well as the ease of integration for MADI
with Waves servers and multitrack record/
virtual soundcheck facilities. I used an SD9 as
my first touring DiGiCo on a theater run I did
while the boys were recording their current
album, Ellipsis. I had it triggering scenes from
timecode and mixing nine sets of IEMs from
FOH with minimal prep time and it was great.
Ideally, I would have liked to have used an
SD5 for the 2016 tour, but budgetary restric-
tions meant the SD10 was the best option,
and its been great.
4K8K From the demo room in at HQ in Chess-
ington to telephone support on the road,
DiGiCos support is always good, he con-

opticalCON MTP 24 tinued. We know theres always someone

available on the phone at Skan, so between
Skan and DiGiCo, any issues are always dealt
SMPTE standard ST2091
with swiftly, he added. Were all happy with
our console choice and havent looked back
Neutriks brand new opticalCON MTP 24 ADVANCED and opticalCON MTP since we changed to using them.
24 LITE are the ideal solutions for multi-fiber point-to-point applications. The unique Biffy Clyros U.S. tour runs from the end of
rugged and long-lasting housing is perfectly suitable in demanding environments. March to the end of May 2017.

www.neutrik.com
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sound culture
www.rcf.it
INDUSTRYNEWS
The tour kicks off June 16 at Seattles CenturyLink Field.
Audix has been named official microphone sponsor.
JEFF WILCOX
Vans Warped Tour Signs
Technology Sponsor
SEATTLE Established in 1995, The
Vans Warped Tour is the longest-running
and largest touring festival in the U.S. The
2017 tour, presented by Journeys, kicks off
in Seattle on June 16 and concludes in Po-
mona, CA on Aug. 6, 2017.
This year, the all-ages festival includes
more than 80 acts, including Anti-Flag,
Beartooth, BlessTheFall, Bowling for Soup,
Creeper, Futuristic, GWAR, Hatebreed, I Pre-
vail, Memphis May Fire, Neck Deep, New
Years Day, Our Last Night, Sick Of It All, and
TSOL, They will perform on seven stages
and make stops in 41 cities this summer.
Audix has been named the official mi-
crophone sponsor of the 2017 tour. Mics
from Audix will be used for all seven stage
EMBRA
microphones
Patent Pending ACT FAST TO SEE MORE:
8 MAY 2017 fohonline.com
Mid-America Sound Supports Chris Tomlins Worship
Night In America Tour with L-Acoustics K1/Kara System
INDIANAPOLIS For Chris Tomlins
Worship Night In America tour, which toured
the Midwest and West from April 4-May 13,
Mid-America Sound provided an L-Acoustics
K1/Kara system.
Along with Tomlin, a Grammy Award-win-
ning Contemporary Christian music artist,
the tour featured performances by Big Dad-
dy Weave, Phil Wickham and Zach Williams.
Tomlin, whose 11th studio album, Never
Lose Sight, debuted at No. 1 on the Billboard
Christian Albums Chart, kicked off the tour
April 4 in San Antonio and finished the trek
May 13 in Rio Ranco, NM.
The various acts included on the bill per-
formed a diverse array of music styles
from high-energy worship songs to intimate
acoustic ballads. Tomlin was once again rely-
ing on an L-Acoustics K1/Kara combination
to get every note and lyric across clearly.
The PA system consisted of 28 K1 and 12
Kara enclosures split evenly between ste-
reo hangs, with the Kara acting as downfill
backlines and P.A.s, as well as for the work-
speakers. Thirty-six more Karas were split 18
shops provided by The Entertainment In-
per side as the flown sidefills, while six more
stitute.
Kara boxes were placed in four strategic lo-
The workshops will consist of 40-min-
cations as front fills. Sixteen SB28 subwoof-
ute small group conversations with artists,
ers arrayed in 4x4 cardioid configurations
backstage during the Warped Tour, rang-
amply handled low end.
ing from instrument lessons, to in-depth
The main system was driven by 14 LA12X
conversations about touring, songwriting,
amplified controllers the first time Tomlin
or various other aspects of a career in the
has taken these out on the road while 16
music industry.
LA8 powered the Kara down, front and side
It is great for the Vans Warped Tour
fills, as well as the subwoofers.
to have the support of endemic music
The tour also used four DiGiCo SD Series
companies like Audix, said Warped Tour
consoles and two Dolby Lake processors,
founder Kevin Lyman. We are excited for
which were accessible through an insert
the strategic opportunities that arise when
point on the DiGiCo SD10 console used by
partnering with a brand that is able to fit
Tomlins front-of-house mixer, Kyle McMa-
the unique rigors of the tour.
hon.
C E
LIGHT LIKE A LAV. HOLD LIKE A HEADSET.
PICTURE PERFECT MICROPHONES
IN SEC:00NDS
EMBRACE microphones can be
bent and trimmed to fit any ear.
It conceals with practically no effort
and mic placement is always consistent
regardless of head movement.
www.point-sourceaudio.com
Mid-America Sound provided L-Acoustics K1/Kara for the
tour. Along with Tomlin, performers included Big Daddy
Weave, Phil Wickham and Zach Williams.
McMahon, who began mixing FOH for
Tomlin this year after having previously
worked with the artist as his monitor en-
gineer, said that the L-Acoustics K1/Kara
combination has worked well for Tomlins
multi-artist tours for over five years.
The K1 is a very linear speaker as far as its
tone it doesnt change from artist to artist
or from high energy songs to quiet ballads,
McMahon said. When using other PA sys-
tems on these kinds of tours where we have
multiple artists and a lot of dynamics chang-
es from one song to the next, I used to find
myself chasing the music, trying to tune the
system for each new emotional level after it
happened. It was easy to get very aggressive
with the mix when I didnt intend to. That
doesnt happen with the K1it sounds con-
sistently even and great from song to song,
all night long.
Nick Turner, the system technician on
Worship Night In America, said hes noticed
the volume levels going from 92 dBA to 102
dBA during the course of a single show. He
noted another reason the K1/Kara combina-
tion has worked so well for Tomlin now and
in the past: in certain smaller venues on the
tours, the spaces allow them to use the Kara
boxes as the main PA system, with 12 to 18
Kara hanging per side. And he likes the fact
that the entire system can be packed into
three semi trucks, keeping the tour econom-
ically sound.
McMahon, who has been a fan of L-Acous-
tics since he first worked on a V-DOSC system
a decade ago, said the K1 and Kara are easy
to specify for a wide range of shows. They
just sound great on vocals, and they play
well together in a system, he said. Thats
why we developed this configuration over
the last few tours with Chris, in an attempt
to keep things as consistent as possible from
tour to tour, and show to show.
Turner agreed, noting, In Contemporary
Christian music, the vocals and lyrics are very
important, and the K1 has a very smooth
midrange sound that really helps bring clar-
ity to the vocals and entire mix. The K1/Kara
PA works so well for this kind of show; we
couldnt imagine doing it without them.
Tony Awards to Reinstate
Best Sound Design Awards
continued from page 5
honoring sound design for musicals and
plays, the category of Best Orchestrations
would adhere to a new voting process.
The Tony Nominators will nominate for
these categories, as in the past. However,
voting on the winners of the three categories
will now be the responsibility of a subset of
the overall voter pool based on their profes-
sional affiliation. The Broadway League and
the American Theatre Wing present the Tony
Awards every year.
For more information, go to tonyawards.com.
 waves.com/lv1

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 INDUSTRYNEWS
Sound Image Supports Kansas in Arizona
PHOENIX, AZ Kansas has a crowd-
ed touring schedule for 2017, with back-
to-back dates through year-end in celebra-
tion of the bands four decades together.
Recently, the Leftoverture 40th Anniversary
Tour landed at the Chandler Center for the
Arts, just outside of Phoenix, where the
bands longtime FOH engineer, Chad Sing-
er, took his first spin behind the wheel of a
VUE al-Class line array supplied by Sound
Image.
For the Arizona stop, left and right VUEs
Continuous Source Topology (CST) clusters
included eight large-format al-12 box-
es above two medium format al-8 boxes,
providing downfill. A total of 19 VUEDrive
systems engines delivered power and pro-
cessing for the arrays, while on-board DSP
ensured an easy setup.
Jon Schumann, FOH Engineer for M, Mixing Shows with New Digital Solution
Jon Schuman with the Waves eMotion LV1 Console.
UTRACK24
Record a 24-channel
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This is the first P.A. that hasnt required smooth and transparent as you walk from
any adjustment at the high-end, said Sing-
er. I generally have to pull back the 3.5k to
4k range, but that simply wasnt necessary
with the VUE system. Maybe its the beryl-
lium, but this was easily one of the most
transparent and efficient systems Ive used.
Even when I leaned into it, the delivery re-
mained totally consistent and smooth. Im
really impressed.
Dean Hannula, the Chandler Centers
senior production coordinator since 1997,
had been eager to hear the flagship VUE al-
12 since first auditioning the medium-for-
mat al-8 array with Tower of Power in 2016.
Its a stellar-sounding rig he remarked.
Ive had all types of touring rigs in the hall;
but theres something about the VUE Line
Arrays. The beryllium drivers sound very
LOS ANGELES FOH engineer Jon
Schumann is using the Waves eMotion LV1
live mixer, along with Waves SoundGrid Ex-
treme Server and various Waves plug-ins on
tour with Danish singer-songwriter Karen
Marie Aagaard rsted, known professionally
as M.
Schumann, who has also worked with
Kashmir, Mew, Carpark North, Kent, Mercu-
ry Rev, WhoMadeWho, The Raveonettes and
Lukas Graham, cited portability and flexibili-
ty as well as audio quality for his equipment
choice.
When M suddenly blew up with both
Major Lazers hit Lean On and her own songs,
we realized that the kind of touring we had
done in the past was about to change quite
dramatically, said Schumann. Instead of the
classic long touring legs, we found ourselves
jumping around the continents and doing
all manner of shows, from small club gigs to
massive festivals, TV performances, showcas-
es and sometimes two to three shows a day
with little time to prepare. At the same time,
it was increasingly important for M that the
quality and sound of the shows be consistent
throughout our many types of gigs.
Schumann began researching how to
solve the challenge. I was lucky enough to
THE INDUSTRYS MOST AFFORDABLE
24-CHANNEL MULTI-TRACK
RECORDER, PLAYER AND INTERFACE
left to right. I love the way that the al-12s
sound even and balanced no matter if at
lower volumes or at higher SPLs.
For low-frequency support, Sound Im-
age matched the array with 12 VUE hs-28
dual 18-inch ACM subwoofers spanning
the front of the stage in six stacks of two
front-firing cabinets each. Atop each stack,
a single al-4 subcompact line array ele-
ment provided additional front fill.
The VUE subs were just fantastic, with
tons of output for their size, said Hannula.
They are really the perfect match for the
line array tight, punchy and plenty of
horsepower when you lean in. In all, the
whole system from the combo arrays to
the subs was easy and incredibly capa-
ble.
Chad Singer, FOH engineer
see an early version of the eMotion LV1, and
I immediately recognized that here was the
platform that I would need to carry my show
with me anywhere we go. I was already a
huge fan of the Waves plug-ins, but here was
an opportunity to really design my sound
from the ground up and still just pack it into
two cases that go on the flight with us. It was
a no-brainer.
While noting that the benefits of us-
ing Waves LV1 are almost too many to list,
Schuman cited several advantages, starting
with incredible sound quality. Also, I must
stress the awesome flexibility of the side- Waves plug-ins to create exactly what Im
chain of the LV1, which allows a tremendous looking for, Schuman continued. It frees up
amount of interaction and control between my creative brain and makes it fun again. Im a
sources. This may seem like a small thing, but shaper, so the Waves C6 Multiband Compres-
it is absolutely vital to the way we mix mod- sor is always there for me. My new best friend
ern electronic music shows, and the eMotion is the Waves PSE (Primary Source Expander).
LV1 is easily the best mixer out there. Karen (aka M) is always running all over the
On using Waves plug-ins, Schumann add- place, and she spends more than her share of
ed, I adore the new channel plug-ins, and the the shows in front of the P.A. The PSE is saving
Waves eMo D5 Dynamics is just incredible. me a lot of headaches as it just cleans up her
I never leave home without it. One channel vocal mic without too much difficulty or dial-
will be just the Waves SSL E-Channel plug-in. ing in. Lastly, as Ms songs range from quiet
This plug-in has been with me since it was re- ballads to electronic beats and loud rock, the
leased and will always stay in my arsenal. Waves Vocal Rider gives me a smooth way of
The next one is the Waves CLA-2A Com- floating the vocal on top of the mix without
pressor/Limiter, followed by numerous sacrificing dynamics or tone.
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ALLOWING OF FOR A TOTAL TRACK RECORDERS OPTIONAL DIGITAL
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 D I G I C O A U D I O A R T I S T

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INDUSTRYNEWS
Howl at the Moon Upgrades Entire Chain Delicate Evolves
BALTIMORE Live music bar chain
Howl at the Moon has conducted an overhaul
of the audio systems used throughout its ven-
ues, standardized around Allen & Heaths com-
pact rackmount Qu-Pac mixer and AR-2412
Audio Rack. Upgrading the clubs to the Qu-
Pac mixers and converting to in-ear monitor-
ing systems has brought the venues improved
clarity of sound and reduced stage volume.
The clubs arent concert venues, notes some of the players will use the
media director Dean Laber. We encourage
the audience to get close to the stage, inter-
act with the players, dance and have a good
time. And, since the players move around a lot
and the stage is relatively small, we were al-
ways challenged by having wedge monitors.
Now, weve upgraded the clubs to the Qu-Pac
mixers and converted to in-ear monitoring
systems. That brought us improved clarity of
sound and reduced the stage volume.
Howl at the Moon perform-
ers control both their own
with Staff Changes
house feed and their own mon-
itor mix using Allen & Heaths
and New Markets
Qu-Pad iPad App or Qu-You LOS ANGELES Delicate Productions
iPhone App. Laber said, We of Los Angeles and San Francisco is busy
do requests and Top 40 tunes evolving with a host of new moves designed
so, if the song calls for an echo to exceed clients expectations and expand
or a chorus effect or a doubler, its portfolio for the future. The company hired
Jake Gukowsky as the new account manager
app to add that to their mix. I for San Francisco. He will handle client busi-
Jonno Deily, Howl at the Moon pianist, controls his house feed with the Allen &
use the Qu-Pacs graphic EQs to Heath Qu-Pad App. ness development, working with existing cli-
adjust the system to the room ization section as well. It doesnt have the ents and on site project management.
and to each performer. harshness I expect from a digital mixer, so the Company president Jason
Im a huge fan of the dSnake (AR-2412), quality of sound is there along with the ease Alt said, We are excited to
Laber added. Its made everything easi- of use and functionality. Its also great to have have Jake join the Delicate
er. Cabling and routing problems have just recallable setups, so no matter what kind of family as account manager in
gone away. The Qu-Pacs preamps have a adjustments might be changed during the our San Francisco office. Hes
nice warmth to them, and the mixer has lots performance, we can always recover the orig- worked for us over the last
of headroom. Im impressed with the equal- inal setup. few years in several roles and
has made major contribu-
tions to our growth as a true
team player.

ONLY AT In addition, Delicate has Jake Gukowsky joins the SF

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boosted its account man- office as account manager.
agement team with staffers such as Andy
Turner and Romel Yordi in Los Angeles and
Mark Jones in San Francisco transitioning
from their former roles as audio engineer and
lighting designer into turnkey account man-
ager positions.
Delicate also continues to expand beyond
touring, festivals and other live events into
trade shows, conferences and networking
functions. This month, Delicate is producing
a major event for clothing manufacturer Pa-
tagonia at the Ventura County Fairgrounds.
Its going to be a truly dynamic event, with
a first night screening of their film, Fishpeople,
for 600 people, a company gala and product
presentation, said Sean Leo, VP of business
development. Patagonia will introduce next
years spring line and Delicate will provide
our Martin Audio MLA Compact systems for
the presentations.
Bryan Bazilski, chief audio engineer, con-
tinues to service the movie industry provid-
ing 5.1, 7.1 and Dolby Atoms systems for big
premiere events. Of course, Smoother Smyth
and Jason are heavily involved in touring as
always, Leo said, we just picked up PJ Harvey,
and continue to work with Tool, Foo Fighters
and The Killers, and well be providing five
stages of audio, lighting and video at Bot-
tleRock Festival for the fifth year in a row.
ClearOne Awarded
U.S. Patents, Issues
Infringement Complaints
continued from page 5
The same day ClearOne was awarded the
patent from the USPTO, the company filed
patent infringement complaints against
three of its competitors Shure, Biamp and
QSC. Shure and QSC vowed to fight the al-
leged infringement, and Biamp is weighing
its options, according to reports.
The patented technology allows one
device to replace up to 12 individual mics
through a combination of echo cancellation
and steerable coverage. Shures Microflex
Advance line of ceiling and table array mi-
crophones debuted in early 2016 and start-
ed shipping last summer. Biamps Tesira and
QSCs Q-SYS products are designed to work
with Shures MicroFlex.
On May 2, ClearOne was granted anoth-
er patent, #9,641,688, which covers, among
other things, a plurality of microphones ar-
ranged in a housing oriented to span a multi-
plicity of directions, the company noted in a
press release issued May 3.
For more information, visit clearone.com.
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INDUSTRYNEWS
Intellasound Productions Expands Arsenal
Intellasounds K2 system in place for a recent concert featuring
trumpet player Chris Botti with the Columbus Symphony Orchestra.
VERONA, WI For the past 20 years,
Intellasound Productions has been provid-
ing comprehensive live event production
services for countless artists and corporate
clients throughout the Midwest and be-
yond. Following an expansion project that
grew its shop by 50 percent last year, the
company has grown its audio equipment
inventory with a new loudspeaker package
from L-Acoustics.
As a new L-Acoustics rental network
member, the initial investment comprises
24 K2 and 12 Kara enclosures, 18 KS28 subs,
five LA-RAK II racks loaded with 16 LA12X
amplified controllers, and an assortment
groundstack/flying hardware. Clearwing
Productions in Milwaukee facilitated the
sale of the package.
Intellasounds co-founders (president
David Maier and VP Tim Woodworth)
joining the L-Acoustics rental network
has been a long time in the making. I re-
member the first time that I heard V-DOSC
when it was out with Tom Petty in probably
Westbury National Tames Audio Challenges for
Torontos Faith Sanctuary Pentecostal Church
TORONTO For some time, senior
pastor Granville McKenzie of Faith Sanctu-
ary hadnt been happy with the sound in the
worship space a tall, chalet-style structure
with a wide, fan-shaped seating area theyve
occupied the last 15 years. Stone walls and
other reflective surfaces diminished speech in-
telligibility and musical nuance, and consistent
coverage was a constant challenge.
When a colleague who worked in a similarly
designed church mentioned the Bose Profes-
sional RoomMatch system, McKenzies ears
perked up. I love the Bose Wave and use it all
the time, he said. It never occurred to me that
they had translated their technology to a pro
audio system. I was excited to try the Room-
Match system.
The Bose Professional put the church in
touch with Toronto-based integrator Westbury
National, which arranged for Jason Reynolds,
owner of Anjel Music Productions and the
churchs technical director, to experience a
RoomMatch installation at a show in Las Vegas.
According to Reynolds, hearing the Room-
Match system in action in a space with similar
acoustical challenges revealed how the system
could help Faith Sanctuary.
I have a lot of experience as a touring front-
of-house mixer, and I understand the science
behind RoomMatch, which is totally valid, and
I wanted to experience it myself, he said. Faith
Sanctuary isnt your typical church we have
a seven-piece band and it can get pretty loud
channel to learn more! during services. I needed to hear RoomMatch
in action, with a live band playing through it,
not prerecorded tracks. It was a proof of con-
cept for us, and RoomMatch did exactly what
it said it would do: the clarity was there even
2001, Woodworth recalled. It was such a
smooth, crisp, clean and natural sound. So
when we looked to make a sizable invest-
ment for our rental inventory, we wanted
a system that would give us a good ROI
for as long as possible. L-Acoustics proven
history, with V-DOSC still being on riders
after more than 20 years, assured us that
L-Acoustics would be the right fit for us.
The Intellasound team noted that clients
seem to agree on one thing: L-Acoustics.
The K2 system offers the opportunity to
make the next step up in live production.
K2 has only been out for a few years, and
with the new KS28 subs and LA12X amps,
this was the right time to jump on board,
Woodworth noted. Other aspects, such as
box weight, were also a factor. During the
warmer months we are out with our Stage-
line mobile stages and weight is always a
concern with those. Another factor was the
availability of other companies in our area
having the same product for cross-rental
opportunities and regional support.
WALTER LEWIS
Toronto-based church Faith Sanctuary installed RoomMatch
components from Bose Professional.
at high SPLs.
Westbury National installed a Bose sys-
tem consisting of three hangs of four Room-
Match enclosures each, with four RoomMatch
RMS215 subwoofers flown above the center
array. Three more RMS218 subs are mounted
underneath the stage; six more RoomMatch
enclosures provide under-balcony coverage,
and two more are used as choir fills. Nine net-
worked PowerMatch PM8500N amps power
the entire system.
Both McKenzie and Reynolds say its
changed everything for the church. We are
extremely happy with how the sound has
turned out, said McKenzie. Every word is com-
pletely intelligible, and the music is clear and
powerful.
INDUSTRYNEWS

Integrators Band Demo New System Keeps Cafe 601 Upbeat

Leads to Install Contract at American Airlines Arena
GROESBECK, TX The First Baptist
Church was looking for an audio solution
that was high on sound quality and low in
price. Installer Larry Rochelle, who has been
using K-array gear with his band, performed
a demo, and the church was sold on K-array
as well, choosing a Pinnacle KR202 portable
system in white to integrate seamlessly with
the church dcor.
I took my system to the church for a demo
and there was no selling involved, Rochelle
recalls. They didnt even have to say any-
thing; they could hear the difference.
Once Rochelle got to work for the install,
project supervisor and church administrator From left, Jorge Arronte, David Vickery, Damian Gaviria, Brad Duval, and Javier Caballero
Spencer McDonald was also impressed with MIAMI Caf 601 at American Air- Using our Dante audio network, we can
its portability aspect as it required no further lines Arena in Miami deployed a series of connect a band or DJ with a localized
effort than setting up for a gig. The subs were D.A.S. Audio loudspeakers in a recent over- sound system outside and pipe it into the
placed on the stage to help the bass player haul of the venue. The substantial facility space providing clean, robust sound
Installer Larry Rochelle steered the church toward a K-array
and drummer, who both use IEMs, feel the upgrade included speakers from the WR, with the help of our new D.A.S. loudspeak-
solution, and a church member provided brackets.
low frequencies. Artec 300 and Artec 500 series. ers. For this project, we installed 10 D.A.S.
consistent with the visual sound source per-
To leverage the closeness of the tight-knit Sound manager Jorge Arronte is re- WR-6412DX outdoor speakers, 15 Artec
ception. I was fortunate in that with the top
community, the wall mount brackets were sponsible for the various installed fixed 508, 12 Artec 310.64, eight Artec 510, and
array at maximum joint tilt, the highs were
made by a church member that owns a large and portable audio systems at American three Artec 526 speakers. Low-frequency
achieved at front row sitting position as well
metal fabrication company. The line arrays of Airlines Arena, including the facilitys com- support is handled using four Artec 322S
as standing in the balcony.
Kobra loudspeakers were then mounted to puter systems for control and equalization. subwoofers.
When the system was in place, the sound
both sides of the pulpit. Caf 601 at American Airlines Arena While he has been pleased with the
team had a relatively easy time preparing for
The array height worked perfectly, said measures approximately 11,000 square performance of numerous D.A.S. Audio
the first service. Afterward, the pastor went to
Rochelle. We achieved the desired vertical feet between both levels and the adja- loudspeaker offerings and has used them
Rochelle with a smile, pointing at the arrays.
coverage and kept the audible perception cent outdoor lounge areacalled Ca- on previous projects at American Airlines
Those things are amazing! he said.
bana 601that adds capacity for roughly Arena, Arronte was particularly impressed
another 500 patrons, Arronte said. This with the Artec 508 for this job. I love the
combined area is extremely versatile and clarity and full sound of the D.A.S. Artec 508
can accommodate most any type of event. loudspeaker, he said, which is a relatively
Cabana 601 is a very Miami outdoor area small box. Theres not much tweaking of
that gives our guests that outdoor South the sound necessary to achieve smooth, in-
Beach atmosphere right here in Down- telligible vocals for both meetings and mu-
town Miami. sic reproduction. This is true of all the D.A.S.
Caf 601 has the capability of doing it loudspeakers, but that little guy, in particu-
all, from DJs to live bands, Arronte added. lar, is one clean, powerful loudspeaker.

Jazz Flautist Nestor Torres

Tours with New Miking Solution
MIAMI With a Nestor Torres recently added Countrymans I2 Flute mic to his arsenal.
musical career spanning
25 years and 14 CD re-
leases, four Latin Gram-
my nominations, a Latin
Grammy Award, plus a
Grammy nomination, flau-
tist Nestor Torres is a mu-
sical icon among the jazz
community.
Torres has been a
CATINA BRYANT

Countryman microphone
enthusiast for many years,
mostly with the Country-
man ISOMAX 2 Instrument
mic, but he recently added
Countrymans I2 Flute mic to his arsenal. than any other microphone Ive ever tried,
I have four ISOMAX 2s, he said. Two are Torres said. The Countryman mics provide
hard-wired; the other two are configured an incredibly open and natural sound quality.
for use with Shure and Sennheiser wireless The sound is clear, articulate, and true to the
systems. Both mics provide me freedom of instrument. I use these mics for both live and
movement without sacrificing sound quali- studio work. As far as which mic I select, I typ-
ty, which is indispensable for my live perfor- ically try them both to determine which mic
mances. works best for the nature of the performance
Torres primary instrument is the C flute and then choose accordingly.
and, when miking his instrument, he uses Torres recently finished recording a new
the Countryman ISOMAX 2 and I2 flute clips live CD titled Jazz Flute Traditions, where he
for positioning the mics on the headjoint to used the I2 Flute microphone extensively.
the left of the mouthpiece. These two mics The engineers were truly amazed by the way
and their mounting clips enable me to cap- the microphone captured my flute sound and
ture the true sound of my instrument better how well it isolated other nearby sounds.

16 MAY 2017 fohonline.com

 Volkstheater Cologne, Germany

This isnt about new loudspeakers.

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INDUSTRYNEWS
River City Casino Event Center installed a MLA Compact system.
River City Casinos Multi-Use Center
Steps Up Its Audio Game
ST. LOUIS, MO TSI Global chose a Mar-
tin Audio MLA Compact for the ballroom per-
formance space at the River City Casino Event
Center. The multifaceted sound system has
proven to be a good fit for the venue, which
hosts a variety of touring bands, mixed martial
arts competitions and other live events.
The Event Center is also a bi-divisible con-
ference space in addition to being a ballroom,
so there is AV for that in terms of a control sys-
tem with distributed audio, said Paul Murdick
of TSI Global Companies, who handled the
install. The MLA Compact system was chosen
over all other contenders as the performance
audio system because of its ability to quickly
reconfigure coverage for different events via
Display software and to create areas of hard
avoid in what is a challenging space acousti-
cally.
The ballroom is basically a square box,
Murdick continued. And they needed to con-
trol the pattern with hard avoid on the back
walls to eliminate reflections that would have
caused a major problem with typical arrays.
In addition to the reflective walls and ceil-
TYPE 10 DI BOX
Rugged performance. Now in stereo.
18 MAY 2017 fohonline.com
ings, the ballrooms floor is also combined
with portable risers to create 1,200-capacity,
stadium-style seating areas for concerts and a
special configuration for MMA events.
These different configurations allowed
the unique coverage abilities of MLAs cellular
technology to be the perfect fit for the room,
Murdick added.
The performance system consists of five
MLA Compact enclosures flown on both sides
of the stage with four DSX subwoofers under
the stage. Two flown Martin Audio DD12s are
used for outfill with four AQ28 dual 8-inch
speakers provide lip fill. Five LE1200RS and
five LE1200LS monitor wedges, right and left
respectively, are used for the stage.
Six Martin Audio DD12s were also installed
in the Casinos Grand Promenade and two in
the outdoor entranceway to provide high
quality audio for special events and people en-
tering the building.
Our client is very pleased with the audio
quality, coverage and control and the fact that
the MLA system would easily be approved on
any rider coming through the venue.
http://www.countryman.com/di-boxes
sales@countryman.com
Mix Solution for Ontario
Community Theater
Mattamy Theatre inside Milton Centre for the Arts. The venue added a CL3 to its stable of Yamaha digital consoles.
MILTON, Ontario, Canada The
Milton Centre for the Arts (MCA), soon to
be renamed the First Ontario Arts Centre
Milton is the communitys cornerstone for
creativity. The unique, state-of-the-art fa-
cility, completed in the fall of 2011, offers
exciting performances, visual, media and
literary arts experiences. The venue was
built through a joint investment between
the governments of Canada, Ontario and
the town of Milton.
Upon entering to watch a performance
for the first time., visitors notice the beau-
ty of the Mattamy Theatre. The prosceni-
um-style concert hall seats 497 and was
designed with flexible lighting options
to accommodate both large-scale and
more intimate performances. The smaller,
multi-purpose MinMaxx Hall is a flexible
space with telescopic seating for 198 that
accommodates cabarets, theatre presenta-
tions, and more.
Owning quite a selection of Yamaha
digital consoles including a: 01V, DM1000,
LS9-32, M7CL-48ES, the Centre most re-
cently added a Yamaha CL3 digital console,
a Rio1608 I/O box and an Ri8-D input box
provided by Westbury National in Toronto.
The audio backbone of the Milton Cen-
tre for the Arts is built on the BSS London
Architect DSP and with the new Dante inte-
gration, the direct digital link into the DSP
from all of our consoles has done wonders
for us by increasing our capacity, simplified
the Centres operation and has extended
the life of all the equipment by a consider-
able margin, said Bill Zeilstra, the venues
coordinator for technical operations.
The most important part of the up-
grade for us was the transition to Dante,
Congress Votes to Continue
Funding for Arts Organizations
WASHINGTON, DC On May 3 and 4,
the House and Senate voted to include close
to $150 million each, $300 million total, to
fund the National Endowment for the Arts
(NEA) and National Endowment for the Hu-
manities (NEH).
The funding approval was part of the $1.1
trillion spending bill for the fiscal year starting
in October.
President Trump and Mick Mulvaney, di-
rector of the Office of Management and Bud-
get, had been advocating a plan to defund
both agencies. But in a rare show of biparti-
san unity, some Republican legislators lob-
bied against the cuts.
We should stop and recognize that this
said Zeilstra. We have five Yamaha con-
soles in our inventory, so switching to Dan-
te was quite easy, and because we dont
have to retire our old equipment weve
effectively doubled our capacity. And, nev-
er again will I underestimate the benefit of
the mini-YGDAI slot.
Zeilstra had more favorable things to
say about the benefits of having the Ya-
maha CL3 as their primary front of house
console, including its performance at FOH.
When looking into other audio systems,
I found that digital audio networks and
consoles still mimic (or try hard to mimic)
the analog approach to audio, especially
when it comes to live music. While the CL3
can hold its own in that regard, it was the
non-linear, non-standard capabilities that
impressed us the most and match nicely
with our current operations.
Live music is only a portion of what MCA
does. What happens next can change sub-
stantially from day to day and production
to production. In some cases we literally
pick up our entire operation, move it to a
different venue (within the facility), turn it
90 degrees from our standard configura-
tion and make it go. Dante allows us to do
this with ease. I can now use any Yamaha
console for any application in any part of
this facility, with minimal physical patching
to get each one up and running.
The rack spaces were critical upgrades,
Zeilstra noted, and a request from all of the
Centres operators. The Premium Effect
rack with the multi-band compressor are
being used on a daily basis. And, as one of
our operators mentioned to me, the Du-
gan, the Dugan, the Dugan referring to the
built-in auto mixer capability.
line item accounting for just 0.004 percent
of the federal budget is not whats breaking
the bank, wrote Mike Huckabee, the former
Arkansas governor and two-time presiden-
tial candidate, in a letter to the Washington
Post.
Huckabees letter went on to detail the di-
verse ways in which funding for NEA and NEH
support programs that benefit all 50 states.
In addition to easing fears that NEA and
NEH would have to disband caricatured
in April by descriptions of PBS and Sesame
Streets Big Bird as being on the chopping
block the approved spending bill increases
the annual budget for each agency by close
to $2 million.
 GLOBALNEWS
Ed Sheerans Divide Tour Gets Unified Audio Boost from Major Tom, Ltd.
LIMA, Peru U.K.-based Major Tom,
Ltd. is supplying a Meyer Sound Leo Family
system on Ed Sheerans 108-show, three-conti-
nent tour in support of his third studio album,
Divide (stylized, simply, as a division symbol).
The 2017 Divide tour, which launched in
mid-March and continues with legs in the
U.K./Europe, Latin America, North America
and Asia, follows the artists 2014-2015 tour
in support of his second album, Multiply (x)
and his first album, Plus (+), released in 2011.
This is the fifth consecutive year Meyer
Sound products have supported Sheeran.
Though working solo onstage, Sheeran is
supported by an offstage crew headed by
production manager/FOH engineer Chris
Marsh, who has held both posts since the ear-
liest arena-touring days.
As FOH engineer, Marsh depends on the
systems long throw and uniform response.
For example, in Barcelona (April 9), where it
was a 105-meter throw to the back seats, it
sounded the same there as at front of house.
Wearing his production manager hat,
Marsh also appreciates how LEO familys
rigging accommodates the tours up-tempo
schedule: My guys load in the P.A. and its
up and out of the way inside an hour; and its
loaded and on its way in 40 minutes.
In most respects the main Meyer Sound
system is similar to past tours, with a couple
of exceptions to deal with managing bass fre-
quencies.
One-Handed
Cam Functionality
HYDRAULIC
LIFT ASSIST
Built-in Adaptor Works
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20 MAY 2017 fohonline.com
As production
manager, I was able
RALPH LARMANN
to specify a stage
only 40-feet wide,
he said. Thats plen-
ty of room for Ed, but
it gave us space to
place end fire arrays
with three by three
stacks of 1100-LFC
[low-frequency con-
trol elements] at
either end. With Ed,
I need frequencies
around 50 Hz to be
really punchy and
uniform everywhere, and this design works Foldback on stage is via MJF-212A stage
extremely well with the 1100-LFC. They are monitors augmented by two 900-LFC low-fre-
fast and responsive where some other subs quency control units, while at FOH, Marsh
can get slow and phase-y in that region. listens in the nearfield with a pair of Amie
The tours typical configuration comprises monitors.
twin front line arrays of 14 LEO loudspeak- Marsh mixes behind a DiGiCo SD7 console
The setup includes a Meyer Sound LEO system.
ers flown over four Lyon loudspeakers, with supplemented by an Avalon VT-737 input
extended wide-angle coverage provided by channel for vocal plus a pair of Bricasti M7 pressed every day that were selling out these
per side 16 Milo line array loudspeak- reverb units, one each for vocal and guitar. huge venues, he said, but we dont take it for
ers and eight Leopard compact linear line Sheerans primary vocal mic is a Sennheiser granted. We are trying our best to give audi-
array loudspeakers. Twelve flown 1100-LFC 9000 Series with a 9235 condenser capsule, ences the same exciting and intimate-feeling
low-frequency control elements supplement while a secondary 9000 mic expressly for experience as when Ed was still out trying to
the 18 in the end-fire floor arrays, and eight vocal loop-building is equipped with a 945 prove himself.
UPA-1P loudspeakers supply front fill. The rig dynamic capsule. The North American tour wraps up in
is optimized before each show by Major Tom Working with Sheeran has been a dizzying Nashville on Oct 7, then heads out for three
system engineer Charlie Albin, another veter- ascent for Marsh, a situation he finds grat- shows in Singapore, Malaysia and Dubai in
an of multiple Sheeran tours. ifying if somewhat perplexing. Im still im- November.
Classical Spectacular at Royal Albert Hall
Gets Sonic Support from RG Jones
LONDON RG Jones long relation-
ship with Martin Audio was extended in fine
style again in March at the Raymond Gub-
bay-promoted Classical Spectacular at the
Royal Albert Hall. RG Jones supplied a full-
size Multi-cellular Loudspeaker Array (MLA)
for the main PA and a MLA Compact rig for
the sidefills.
MLA had first replaced the Martin Audio
W8 Longbow when Simon Honywill, long-
time FOH engineer for the event, first spec-
ified it back in November 2011.
Simon evangelized about MLA, and I am
happy to build on the foundation laid down
by him and the RG Jones team, said Phil RG Jones provided a Martin Audio MLA system,
plus an MLA Compact rig for side fills.
Wright, who took over sound mixing duties
from Honywill two years ago (working on a After discussions with Matt Sus-
DiGiCo SD7). Alongside him was system tech sex, the sound team have been
Luke Murphy, implementing a sound profile able to take 6 to 8 dB off the stage
set up by RG Jones project manager, Matt levels using the Hard Avoid func-
Sussex. tion on the multiple arrays. Bring-
Wright believes that the sound at RAH ing the stage levels down means
just gets better and better under the aegis of all that gloopy stuff you get at 300
Martin Audios premier system, but believes to 400 Hz disappears. The system
that the big difference has been the deploy- provides much more consisten- This years show featured the RPO and
ment of the MLA Compacts for the first time, cy and high-end transparency now that we Royal Choral Society, with Phil Wright deliv-
replacing the earlier conventional Martin Au- have 270-degree coverage in MLA. ering the thundering sound effects for the
dio W8LC and W8LM line arrays. The P.A. design included 16 MLA per side, 1812 Overture from a 360 Systems Instant
We had still been having issues with lev- with outfills comprised of 12 MLA Compact Replay triggered by the pyro team using a
els onstage and the orchestra struggling with enclosures per side and two subwoofers un- custom radio control system designed by fir-
internal balance although MLA has made der the stage. Another system provided choir ing master, Lincoln Parkhouse.
a massive difference, he said. The addition coverage. Six DD6 Differential Dispersion Wright said, I have become a real convert
of MLA Compact has meant that weve been speakers acted as lip fill across the front, with to MLA. Prior to that I had always worked
able to further reduce the P.A. spill onto stage additional pairs of DD6 drawing the image [with another system], but Simon Honywill
to an extent where the orchestra is now re- down from the nearfield stalls and positioned asked me to listen to MLA, and I just loved it,
ally unencumbered by the scale of the gig. on boths side of the organ console on stands. and immediately embraced it.
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 GLOBALNEWS
Edinburghs Festival Theatre Stages
Production of 1980s Musical, Chess
The Warehouse Sound Services provided 24 Adamson S10 line
array elements L-R to ensure coverage for every seat in the house.
EDINBURGH, Scotland An Adam-
son S10 line array system supplied by The
Warehouse Sound Services, hit all the right
notes during a sell-out run of the 1980s mu-
sical, Chess, at Edinburghs Festival Theatre.
Students from the Royal Conservatoire
of Scotland (RCS) achieved critical acclaim
for their take on the musical, which debuted
on Londons West End and New Yorks Broad-
way in 1986 and 1988, respectively.
They performed the show, which por-
trays a conflict of interests between chess
champions from the U.S. and Russia and the
woman who serves as the manager for the
American but falls for the Russian player.
The Warehouse, alongside the RCSs
sound designer, Calum Paterson and lectur-
er in sound, Gavin Jenkinson, developed a
complex sound design for the show.
Chess is by far the most technically ambi-
tious production weve ever tackled, noted
professor Andrew Panton, artistic director of
musical theater at the Royal Conservatoire of
Scotland. Once again, the process has been
special because of the student, staff and
guest creative team collaboration.
The Warehouse, which serves as the U.K.s
sole distributor for Adamson, has worked
with the RCS for over a decade, installing
22 MAY 2017 fohonline.com
sound solutions for many of its live theater
and music shows.
For Chess in Edinburgh, the setup includ-
ed 24 Adamson S10 line array sound speak-
ers flown L-R, with eight S119 subwoofers,
all powered with Lab.gruppen PLM20K44
amplifiers. A DiGiCo SD10 mixing console
was used at FOH with 24 Shure UHF-R wire-
less mics for the cast and a mix of AKG, Shure,
Sennheiser and DPA microphones for the
27-member orchestra.
The RCS Paterson credited the sound
system for overcoming challenges posed by
the layout of the 2,000-capacity auditorium,
which has sloped stall seating and two levels
of sloped balcony seating wrapping around
all three walls, requiring ample vertical cov-
erage.
With a 2,000-seat auditorium in mind, I
needed a system that would not only pro-
vide excellent coverage but one that would
provide the level of performance required
for modern musical theatre, Paterson said.
After hearing the Adamson S10 Line
Array combined with the S119 Subwoofer, I
was convinced that this was the system for
this show, Paterson continued. It gave us
the clarity and detail that we needed while
also being able to blow our audience away.
The soundcos new L-Acoustics K1 system got
the nod for the 2017 events main stage.
Audio-pro Rocks Big Crowds
Attending Lollapalooza in Chile
SANTIAGO, Chile The seventh
edition of Lollapalooza Chile took place
April 1-2, 2017 in Santiagos OHiggins Park,
drawing record-setting crowds of 85,000
per day with headliners including Metallica,
The Strokes, The Weeknd, The xx, The Chain-
smokers and dozens of other top acts.
The 2107 event also marked a big oppor-
tunity for Audio-pro, based in Via del Mar,
near Santiago. The sound company, which
has been supplying audio systems for cor-
porate, social and artistic events since 1990,
moved into live touring in the mid and late
1990s. Last year, they shifted up another
gear to service large-scale concerts.
For this, we had to buy the best loud-
speaker system in the world, said com-
pany owner Jorge Diez, who oversaw the
investment in 48 K1, 24 K1-SB subs, 36 K2,
24 KS28 subs, along with 18 LA-RAK IIs and
four ARCS WiFo. L-Acoustics K1 was the
clear choice, for its rider friendliness, quality
sound and longevity. We knew it would be a
good investment.
Audio-pro had already supplied the
sound system for the third biggest stage at
Lollapalooza, and for the 2017, with their
new L-Acoustics K1 system, they were able
to reinforce the acts performing on the main
stage, including Metallica and a long list of
others, from Cage the Elephant, Rancid and
We are the Grand to Jimmy Eat World and
Two Door Cinema Club.
Audio-pro owner Jorge Diez with Metallica FOHE Big Mick Hughes.
We had been involved with Lollapaloo-
za Chile Festival for the last four years, said
Diez. When Lotus, the festivals technical
producers, learned of the arrival of our K1
system, they said, We want it for the Festi-
val. In addition to supplying the P.A. for the
main stage, Audio-pro also once again han-
dled sound for the third stage this year.
Before the crowds swelled near the main
stage, the crew from Audio-pro worked with
Alex Soto, L-Acoustics application engineer
for Latin America and the Caribbean and
used Soundvision software to optimize the
coverage across a daunting area.
We needed to cover up to 220 meters in
depth and 170 meters width, said Soto. To
achieve this, we had a setup that comprised
28 K1 with six K2 as downfill, plus 12 K1-SB
in throw configuration. Side hangs were a
further 20 K1 plus four K2 as downfill, with
ten K1SB, again in throw configuration.
We also had three delay towers, each with
hangs of eight K2. We used two K2 and four
distributed ARCS WiFo as front fill, with 24
KS28 and 16 SB28 ground stacked subs in an
electronic arc configuration.
This was the first project with our new
L-Acoustics system and the bands engi-
neers were very happy with both our service
and our new equipment, said Diez. With
our world-class service, our highly qualified
sound engineers and now this great K1 sys-
tem, we have the ideal mix.
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ONTHEMOVE GLOBALNEWS
New Life for Palace
of Arts in Newcastle

ALEXANDER KHOREV YAROSLAV UDOVIK

Meyer Sound appointed two new distrib-

JAMES RITTER AND FRANCISCO ZABALA MAX BOYCE AND SAM THOMAS
utors. Moscow-based Major Sound will handle
Adamson Systems Engineering an-
in its rental inventory. The West Midlands, UK- Russia, while Sonus Exsertus, based in Vilnius,
nounced that Mandaluyong City, Philip-
based company is linked to a dedicated train- Lithuania, will represent Meyer Sound in its
pines-based distributors Stage Craft Interna-
ing center, planned when CPL moves into a home country as well as the other Baltic states
tional has added its products to its offerings.
new space later in the year. Pictured here, of Latvia and Estonia. Pictured here are Major
Pictured here, from left, are Adamsons James
from left, are CPLs Matthew Max Boyce and Sounds managing director, Alexander Khor-
Ritter, sales manager for the Asia Pacific region;
Sam Thomas. ev, and Yaroslav Udovik, chief technical officer. The Palace of Arts is now a working brewery and events
and Stage Craft president Francisco Zabala.
space. Nitelites provided an RCF D-Line HDL20A system.
DiGiCo named Austin
American Music &
Freshwater general man- NEWCASTLE, UK The Grand
Sound has appointed
ager. Freshwater joins the Hall at the Palace of Arts, the last building
Matt Lawrence as the
DiGiCo team from Canon, to survive from the North East Exhibition
new western regional
where he served for 10 world fair of 1929, was originally opened by
sales manager for Allen
years, most recently as the then-Prince of Wales (later Edward VIII)
& Heath. Lawrence brings
sales director for the U.K. AUSTIN FRESHWATER in the newly-redeveloped Exhibition Park.
experience as a working MATT LAWRENCE
and Ireland. It then operated as two different mu-
sound engineer on glob-
seums before laying derelict for nearly 10
al tours with artists such as Fifth Harmony,
DPA Microphones RCF AUDIO ACADEMY years, before Wylam Brewery has relocated
Lauren Hill and more.
announced that Evan RCF has opened a new lecture hall for au- to the building, turning the structure into a
MacKenzie has joined the dio courses and seminars inside its headquar- fully operating brewery and events space.
Biamp Systems
company as its new mar- ters in Reggio Emilia, Italy. The new venue will Local providers Nitelites installed an
announced that Jody
keting and communica- also host the Sound-Engineering University RCF D-Line HDL20A system to handle the
Thomas will join the
tions manager for the Course, organized by the Department of Sci- range of special event and music functions
company as the new
United States. EVAN MACKENZIE ence and Methods of the University of Mode- at the venues Grand Hall, which has a ca-
director of business de-
na and Reggio Emilia, in collaboration with pacity of 800 (standing).
velopment, to direct the
RCF, now in its sixth edition. Events director and brewery co-owner
companys sales, product JODY THOMAS Eastern Acoustic Dave Stone, also a well-known local music
management teams and
Works added Marilyn promoter, was eager to integrate the room
strategic partnerships.
Fernandes to its engi- within the brewery itself, and he had good
neering project team. past experiences with the RCF line.
Clear-Com promoted
Fernandes, who has a BS Nitelites director/system designer Andy
Simon Browne to VP of
in Chemical Engineering Magee recognized the challenges of work-
product management.
from UMass Amherst, MARILYN FERNANDES ing in an historic, single-glazed dome roof
Part of the Clear-Com or-
brings more than 15 structure, with the combined problems
ganization for 28 years,
years of experience in manufacturing and en- of sound leakage and high reverberance
Browne will continue to
gineering environments to the company. within the space.
oversee brand develop- SIMON BROWNE
JEFF COWLING, KIRA HADEN AND STEVE HENDEE Initially, the noise study limited the SPL
ment for Clear-Com and
K-array announced that SOONN s.r.o. Pro Yorkville Sound named Kira Haden mar- considerably, but by being able to demon-
Trilogy Communications products.
Audio Systems is now its exclusive distributor keting and communications manager. Ha- strate the clarity of the HDL20-A, and our
for products in the Czech Republic. Founded in den reports to VP of sales and marketing Jeff ability to focus the energy onto the dance
Central Presentations Limited launched
2011, SOONN focuses on pro audio distribution, Cowling. Also pictured here (at right) is Steve floor area, we have increased the threshold
a sales division, headed by Sam Thomas, to
consulting, project design and installations. Hendee, director of U.S. sales. to 100 dB, Magee said.
focus on product lines that CPL also carries
He added that the decision to specify
HDL20-As with hangs of six elements
a side had been a no-brainer, credit-
ing the speakers 100 by 15 dispersion
pattern. The return on investment is un-
paralleled, and they are easy and quick to

Stand
deploy and operate.
Five TTS36-A subs housing two 18-inch
neodymium woofers are recessed behind

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the front of the stage apron. In addition,
six RCF NX15-SMA have been provided
for stage monitoring while limiter and
EQ structure is programmed into a BSS
Soundweb DSP.
Andy Magee also highlighted other at-
tributes of the system. Since the brewery
doesnt have a full time engineer but relies
on freelance engineers, who will most-
ly have experienced the system, the fact
that the HDL20-A is equipped with several
push button correction tools enables them
to change the low frequency and mid-
range summation to suit. There are a lot of
dynamics in this system, which enables cli-
ents to cater for a wide range of events. At
the same time, we have managed to keep
reflections down to a minimum.
Dave Stone agreed. We were unable to
acoustically treat the room, but Nitelites
have absolutely nailed it with the RCF sys-
tem. We have received great feedback as
the system has settled into the different
scenarios.

24 MAY 2017 fohonline.com

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SHOWREPORT
Live Sound Surprises from NAB 2017
By the FOHStaff
Allen & Heath expands the options for its dLive series with
new superMADI and AES3 I/O cards.
C
learly, the annual National Association
of Broadcasters convention, held April
22-27, 2017 in Las Vegas, is not a sound
reinforcement show. There wasnt a line array
or power amplifier in sight anywhere among
the 1,806 exhibitors spanning more than a
million square feet of exhibit space. But there
was a whole lot of technology on display,
under NABs M.E.T. (Media. Entertainment.
Technology.) theme, and a certain proportion
of that especially in terms of consoles and
wireless gear were aimed specifically at the
live audio user. Given that premise, we waded
through the masses of 103,443 or so registered
attendees and uncovered some real gems for
sound reinforcement pros.
Consoles? Big News!
Allen & Heath (allen-heath.com) expands
the interface options for its dLive mixing sys-
tem with superMADI and a range of AES3
I/O cards. The superMADI cards connectivity
includes eight BNC connectors and four SFP
slots for fiber optic transceivers for up to
128 I/O at 96k Hz each, and redundancy and
sample rate are switchable per link pair, with
a choice of Smux or High-Speed 96k Hz mode.
The four AES3 cards I/O formats are 2-in/8-out,
4x6, 6x4 and 10-out. The new cards can be fit-
ted to any dLive S Class or dLive C Class Surface
or MixRack.
DiGiCo(digico.biz) and Waves (waves.com)
showed a new method of integration allow-
ing SD console users to easily integrate with a
Waves Multirack system, running on an exter-
nal PC. Users can continue using the low-laten-
cy Waves I/O interface built into SD consoles
for audio routing and the existing session,
snapshot and plug-in control for advance,fast-
er and smooth show control and automation.
DiGiCo was also showing its new SD12 console
Stage Tec Avatus
Lectrosonic Duet IEM system
26 MAY 2017 fohonline.com
DiGiCo SD12
and demoing new, 8-channel 32-bit mic pre-
amp cards designed by John Stadius.
Lawos (lawo.com) new mc2 96 Grand Au-
dio Production Console is available in frame
sizes with 24 to 200 faders, with native support
of SMPTE 2110, AES67, Ravenna and Dante.
The mc2 96 has 21.5 full-HD touch screens
as well as multiple TFTs in channel strips and
touch-sensitive color-coded encoders, provid-
ing fast, user-friendly operation.In addition to
standard channel labeling via channel num-
bers, individual text labels and static pictures
or icons, the mc2 96 can display real-time video
thumbnails right at the faders mini TFTs.
Solid State Logic (solidstatelogic.com) is
now shipping the new L200 entry in its Live
console range, which features an ergonomic
inverted-T chassis design to keep all essential
console controls within easy reach and brings
spring arm-mounted external screens/devices
closer to the center of the console. The L200
offers 144 full processing audio paths, config-
urable as up to 96 input channels, with up to
48 aux sends, up to 24 stems and six masters.
Stage Tecs (stagetec.com) new Avatus is
a fully IP-based large mixing console with 21-
inch multi-touch displays. Control elements
and interfaces are connected through stan-
dard Ethernet. The console control surface and
other elements communicate via IP networks.
The console interface can be split, as the dis-
plays can be relocated as required. The Avatus
console concept provides more than 800 input
channels and 128 sum buses.
Yamaha (yamahaca.com) showed the new
CS-R10-S control surface for its flagship PM-10
RIVAGE system, which is approximately two-
thirds the size of the existing CS-R10, yet with
the same operability. Also on the horizon is a
Dual Console function update allowing two
CS-R10 and/or CS-R10-S control surfaces to
Dan Dugan speech option for Waves LV1 console
Riedel Bolero intercom
Lawos mc2 96 Grand Audio Production Console
be connected to a single DSP-R10 DSP engine,
so separate CS-R10-S control surfaces can be
used at both front of house and monitor mix
positions or a CS-R10-S could to be used as
a sidecar for a CS-R10. Yamaha also announced
its V1.5 firmware update will includes an Even-
tide H3000 Live Ultra-Harmonizer plug-in, a
new analog delay and the Dan Dugan Sound
Design automatic mixer plug-in. All are due is
Q3 2017.
Waves (waves.com) Dugan Speech plug-
in option is an official software version of the
famed Dugan automixer for Waves eMotion
LV1 console. It controls the gain of multiple
microphones automatically in real-time, dra-
matically reducing noise, feedback and comb
filtering from adjacent mics.
Wireless World
Digital wireless was hot, especially with all
the talk about just-completed FCC frequency
auctions. Fortunately there we plenty of new
systems that bypass those concerns.
Audio-Technica (audio-technica.com) de-
buted its new 6000 Series High Density Wire-
less System, a spectrum-efficient solution that
lets users pack 31 channels in 4 MHz of band-
width and operates in the non-TV 944 to 952
MHz band. The FCC has expanded license eli-
gibility for this band beyond broadcasters and
content creators to include sound companies
and venues that routinely operate 50 or more
wireless mics. The 6000 Series system consists
of the ATW-R6200 receiver, ATW-T6001 body-
pack transmitters, an optional ATW-DA410
antenna distribution system and a various Au-
dio-Technica lavalier and headworn mics.
Lectrosonics (lectrosonics.com) previewed
its Duet digital wireless IEM system, with a M2T
dual-stereo half-rack transmitter and M2R di-
versity belt pack receivers that operate in the
Yamaha CS-R10-S control surface
Sennheiser System 6000
Solid State Logics L200
470 to 608 MHz UHF range. The M2T houses
two independent stereo transmitters, for up
to four stereo or dual-mono transmissions in a
single rack space. Audio inputs can be individ-
ually configured to be analog or Dante com-
patible. Availability is Q3 2017.
Riedel (riedel.net) showed Bolero, an ex-
pandable, full-roaming, DECT-based wireless
intercom system in the license-free 1.9 GHz
range. Fully integrated into its Artist digital
matrix intercom platform, it can operate three
ways: wireless beltpack, wireless keypanel, and
as a walkie-talkie radio an industry first.
Sennheiser (sennheiser.com) is now ship-
ping its two-channel Digital 6000 wireless
system, which features the Long Range trans-
mission mode and proprietary audio codec
from its flagship Digital 9000 series. Bodypack
and handheld transmitters are available and it
operates in the 470 to 718 MHz range. Up to
eight receiver units can be daisy-chained with-
out the need for an additional antenna splitter.
Shure (shure.com) unveiled its Axient Dig-
ital wireless system, which builds on the ben-
efits of its UHF-R, ULX-D and Axient wireless
systems. The Axient Digital receiver is com-
patible with two transmitter offerings, the AD
Series and ADX Series and features a Quadver-
sity mode, Dante and AES3 audio interfacing
and full Wireless Workbench as well as the
ShurePlus Channels app compatibility.
More to Come
There were cool technologies for sound
pros at NAB, and we will present more of these
online at foh.online.com and in our upcom-
ing print issues. Meanwhile, NAB returns to
lovely Las Vegas next year from April 7 to 12,
dates that overlap the Prolight+Sound show in
Frankfurt, which will run April 10 to 13, 2018.
Audio-Technicas 6000 Series
Shure Axient Digital Wireless
NEWGEAR
AKG Connected PA Audinate Dante
Mic Adapter Broadway Chip
Using embedded ioSYS technology, this Dante developer Audinate is shipping its
small, portable accessory makes the ground- Dante Broadway networking chip designed
breaking Harman Connected PA System com- for OEMs adding mid-channel count (8x8 and
patible with all AKG dynamic vocal mics, as 16x16) options in small mixers, power am-
well as mics from other manufacturers. Plug plifiers, DSPs, hardware interfaces and con-
the AKG MDAi CPA Connected PA adapter ferencing solutions. Dante Broadway blends
to any favored vocal mic and it automatical-
the small form factor of the companys Ulti-
ly configures with the Harman Connected
mo products with the most popular features
PA app and ecosystem, providing effortless
setup and instant recall of performer and of the Brooklyn II module, including latency
presets. Other embedded ioSYS and Harman as low as 0.25ms and support for Gigabit Eth-
Connected PA products include the Sound- ernet.
craft Ui24R mixer, JBL PRX800W loudspeak-
ers, dbx Di1 direct boxes and AKG P5i mics.
MSRP is $73.

akg.com audinate.com

DiGiCo S-Series
Control App
The DiGiCo S App offers remote iPad con-
trol for the DiGiCo S-Series console, and it is
compatible with DiGiCos S21 and S31. The
free app provides complete access to channel
setups, mix levels, EQ, dynamics, delays, solos,
mutes, auxes, bus routing, snapshots, matrix,
channel labeling and more. The DiGiCo S App
Carvin Complete TRx P.A. System requires V1.4+ of the S-Series console soft-
The 5,000-watt TRC400A is a compact powerful column array sound system, featuring twice ware, and the iPad connection must be con-
the components as the companys TC200A system. The TRC400A includes four TRx3903 col- figured on the console. It is not compatible
umns and two TRx3018A powered subs. The broad coverage of this system is increased over with earlier versions of S-Series software.
the TRC200A up to 200 feet wide by 200 feet deep, covering up to 50 percent more people. The
TRC400A can fit in a midsize hatchback vehicle, can be set up in just a few minutes, and offers
future expansion to a 10,000 watt TRC600A system, or half can be used as TRC200A system for
smaller events. The price is $4,499.

carvinaudio.com digico.biz

Earthworks Shipping
CTB30 Boundary Mic
The CTB30 ultra-low profile boundary mic
includes an onboard anti-thump filter to re-
duce LF noise such as HVAC rumble or tap-
ping/thumping on a conference table. Its True
Semisphere polar response provides omni
semisphere coverage. The CTB30 comes with
a 10-foot, low-profile cable with attached
Drafty 2.0 from Lumax Software XLR, and can exit from the side or bottom of
Drafty 2.0 is a new version of Lumax Softwares streamlined CAD program for lighting, sound the microphone. Threaded inserts and a key-
and video designers and ships with an extensive catalog of lighting symbols, speaker symbols, hole under the 4.1-inch mic allow more per-
projectors and more. Drafty 2.0 offers a completely redesigned look and feel, including pro- manent install options if required. Its offered
viding 3-D technology with the ease of use of a 2-D interface. Also a new Smart Section lets in black, white, silver or Nextel black finishes.
users quickly navigate between a Plan and Section view while keeping their lineset schedules,
electrics, legs, borders, booms and ladders in lock step.

drafty-app.com earthworksaudio.com

InEar LivePro IEMs JBL VTX A12 Line

The LivePro series from InEar is a line of Array
custom-fitted earpieces for pro applications. JBL Professional expands its popular VTX
All offer durable acrylic construction from series with the VTX A12 dual-12-inch line
your ear impressions, 26 dB of ambient isola- array, intended for mid- to large-size tour-
tion, replaceable cerumen earwax filter, inter- ing productions and high-end fixed installs.
changeable cables and a variety of colors in Based around new transducer designs, it of-
stock and custom designs. The LivePro line is fers innovative rigging hardware along with
offered in four models with one to four driv- four 5-inch mid drivers feeding a new HF
ers, and an Ambience-Bore option provides waveguide and a fourth-generation 12-inch
controllable levels of stage ambience for a neodymium Differential Drive woofer. All
natural sound. A Stage Diver series of univer- VTX A12 accessories are designed to be light-
sal-fit models are also offered. weight, durable and sized to fit both U.S. and
international truck dimensions, simplifying
transport and logistics.

inear.de jblpro.com

28 MAY 2017 fohonline.com

Big thinking
For smaller boxes
Game-changing innovations in coaxial speaker design
At Celestion, were always looking to find innovative solutions to the challenges faced by PA manufacturers.
Thats why more and more forward-thinking brands are choosing to work with us.

Take our coaxial drivers for example: unlike conventional designs, our FTX range uses a cutting-edge
common magnet motor design to deliver big improvements in signal coherence and time alignment for
a more natural sound from a very compact and lightweight speaker.

Visit our website or contact us now to find out more about our innovative PA driver solutions.

Find out more celestion.com

NEWGEAR
L-Acoustics Syva Martin Audio
The new Syva system features six MF and Wavefront Precision
three HF drivers in a J-shaped progressive Line Arrays
curvature format. The arrangement produc- Debuting at InfoComm, the Wavefront
es a 140 x 26 (+5/-21) degree directivity op- Precision Series is a new generation of mul-
timized for wide coverage and 115 feet of tipurpose line arrays that bring Martin Au-
throw. It can be paired with the dual-12 Syva dios signature sound, coverage and control
Low sub or single-12 Syva Sub infra exten- to a wide range of applications and budgets.
sion to achieve 142 dB max SPLs and band- The dual-10 WPC and dual-6.5-inch WPM line
width down to 40 Hz. Syva can be wall- or arrays are designed as complete systems
pole-mounted, flown or used alone with its and feature scalable resolution and the new
baseplate. One LA4X amplified controller can external iKON multi-channel amplifiers run-
drive up to four Syva enclosures. Shipping is ning automated DISPLAY software. The new
slated for June 2017. Wavefront Precision Series also includes two
new subwoofers the single-18 SX118 and
double-18 SX218.

l-acoustics.com martin-audio.com

Meyer Sound LINA and 750-LFC Neutrik opticalCON MTP24

Meyer expands its LEO family with the very compact (dual-6.5) LINA linear line array loud-
speaker and companion 750-LFC very compact low frequency control element. The self-pow-
ered LINA weighs just 43 pounds, making it ideal where a discreet appearance and hanging
weight restrictions are critical. LINA shares the same footprint as Meyers MINA, so MINA sys-
tem owners can use the same rigging and mounting hardware. Mixed MINA/LINA systems are
compatible using the delay integration in Compass control software. The single-15 750-LFC
extends system LF down to 36 Hz. Both are expected to ship next month.
Neutriks opticalCON MTP24 is a 24-channel fiber optic connection system based on MTP
data connectors. With its small form factor and robust design, opticalCON MTP24 is an ideal
solution for long cable runs and point-to-point wiring where high fiber counts are required.
Based on Neutriks successful opticalCON QUAD, the connectors are optimized for broadcast
and pro audio applications. The opticalCON MTP24 ADVANCED version features a robust met-
al housing and heavy-duty strain relief. For less rugged applications, opticalCON MTP24 LITE
connectors are also available.

meyersound.com neutrik.com

Point Source Audio

CO2-8WL Lavalier
Said to be the worlds first microphone
with redundant dual capsules, the CO2-8WL
lavalier is two mics in a single self-contained
housing, supporting two separate wireless
transmitters. The mic cable splits approxi-
mately nine inches above connection to the
body-pack transmitters to allow ample room
for separation of the transmitters. Its a stand- QSC K.2 Speakers
alone lavalier (CO2-8WL) in the SERIES8 line The next-gen of QSCs K family powered speakers, the K.2 Series is comprised of the 8-inch
and will also be offered in the EMBRACE series K8.2, 10-inch K10.2 and 12-inch K12.2 full range models, and the KS212C a compact 2,600-
version. Both are omni designs, with 136 dB watt, dual-12 cardioid subwoofer. Each full range K.2 model features onboard 2,000-watt pow-
SPL handling and are water- and sweat-proof ering, Intrinsic Correction voicing, selectable presets and advanced system management. All
rated to IP57. three models can be used as for P.A. or floor monitoring and can be flown, wall/truss-mounted
or placed on a speaker pole either straight-firing or with a 7.5-degree down-tilt. K.2 Series
begins this month, with the KS212C cardioid sub slated for late summer 2017.
point-sourceaudio.com qsc.com

Sound Barrier CORE Whirlwind podMIXai

Series Line Arrays Whirlwinds podMIXai active mixing de-
Sound Barrier USA offers the CORE series vice combines a dynamic microphone with
of line array solutions. The range includes the an unbalanced stereo audio source for con-
flagship CORE 102A active 2x10 system (pas- nection to a single line-level input of a sound
sive CORE 102P also available) and the dual- system. It can be used with CD and MP3 play-
8 CORE 82A and 82P models. Each line also ers, mobile phones, computer sound cards,
has matching single-18 subwoofers in active etc. along with a microphone for announce-
and passive versions. Active models have ments over background music. The output
onboard Class -D amplification, integrated is mono-balanced line-level. The podMIXai
with NUCELUS FIR loudspeaker management features a compact, rugged enclosure and is
processing, with all of the flexibility to drive, designed for ease of use. A wall adapter pow-
align and optimize the CORE series, combin- er supply is included.
ing IIR X-over and parametric EQ functions in
conjunction with revolutionary FIR modes.

soundbarrier.com whirlwindusa.com

30 MAY 2017 fohonline.com

RF ANALYSIS
AT YOUR FINGERTIPS
with RF-Vue
Tablet Technology
FEATURING:

INVISIBLE WAVES
by Kaltman Creations LLC | The RF Experts
864-885-0500 | sales@kaltmancreationsllc.com
www.kaltmancreationsllc.com
 SHOWTIME
ChrisTurner
Josh Botti Righteous Brothers Darius Rucker

EGG
OS
LR
RO
CA
Bill Medley and Bucky Heard performed March 25. Rucker rewarded his alma mater with a free show.

Sound Co Intellasound Productions Sound Co On Stage Gear, LLC Sound Co Special Event Services

Venue Venue Venue

John and Alice Butler Hall, University of Meherrin River Arts Concert Venue, Emporia, VA Colonial Life Arena, Columbia, SC
Dubuque, Dubuque, IA
Crew Crew
Crew FOH Engineer: Bill Famini FOH Engineer: Billy Huelin
FOH Engineer: Ryan Beck Monitor Engineer: Cory Sprinkle Monitor Engineer: Joel Stickrod
Monitor Engineer: Tanner Gibbs Systems Engineer: Alex Ritter
Systems Engineer: Fred Brumbach
System Engineer: Tim Woodworth Production Manager: Jason DB Parkin
Production Manager: Bill Famini
System Tech: Bryan Schalburg Tour Manager: Mike Kelly
Tour Manager: Jeremy Plotnikoff Tour Manager: Tim Lee
System Techs: Joey Diehl, Will Whitaker
System Tech: Vinton Fountain
Gear Gear
FOH Gear FOH
Console: Avid Venue Profile FOH Console: Midas PRO X
Speakers: L-Acoustics K2 Console: Midas PRO2 Speakers: (24) L-Acoustics K1, (40) L-Acoustics K2
Subwoofers: L-Acoustics KS28 Speakers: (12) Nexo Geo S12, (4) Nexo RS18, Amps: (54) L-Acoustics LA8
Amps: L-Acoustics LA12X RAK II (4) Nexo GeoS8 FF Processing: (2) Lake LM26
Power Distro: Motion Labs Amps: (4) NXamp 4x4 Power Distro: Whirlwind PowerLink L2130
Breakouts: Link USA
Processing: Nexo
Rigging: CM MON
Power Distro: Motion Labs
Console: Midas PRO X
MON Breakout/Snake Assemblies: CBI
Speakers: (4) d&b M2
Console: Avid Venue Profile Rigging: CM -ton motors
Amps: (3) d&b D12
Speakers: Turbosound TFM-300
MON
Amps: QSC PowerLight PL2
Wireless: Shure PSM 900 Console: Midas PRO2
Show Notes
The April 5 concert at Columbia, SCs 18,000-seat
Mics: Shure, AKG, DPA, Sennheiser Speakers: 12 Meyer UM-1P wedges
Colonial Life Arena was the fulfillment of Darius
IEMs: (6) Sennheiser ew 300 IEMs
Ruckers promise to his alma mater, the University
Event Details Amps: Meyer
of South Carolina. Rucker had pledged during the
Intellasound assisted the University of Dubuque Mics: Neumann KM184, Shure SM58, Sennheiser 421,
Heritage Center, which featured jazz trumpeter 2016 fall football season that if the USC Gamecocks
EV408, Shure Beta 52, Beta 91, Beta 98, Countryman
Chris Botti, his band, and the Columbus Symphony won six games or more, he would perform a free
165DI, Shure UHFR w/ Beta 87, KSM9
Orchestra on April 1 for the fourth annual Live at show at the venue, which is home to Gamecocks
Heritage Center Performing Arts Series. basketball games.

40 plus years of American made ingenuity at your finger tips.

Made in USA 1-800-733-9473 | 99 Ling Rd. Rochester, NY 14612 w
whirlwindusa.com
 Amps: L-Acoustics LA8

MON System

Amps: L-Acoustics LA8

Main Speakers: L-Acoustics K1 (36), K2

Helt
Monitor Engineers: Eric Rogers, Jeremy

Venue/Location
estival held on December 31, with and
he Dallas Market Hall is the ultimate

8), 115XT HiQ (12)

52),

24), ARC (6), KUDO (6)

EMs: Shure PSM-1000
________________

______________________
eneral event info)
ntil 2:00 am each night on three stages.

peakers: L-Acoustics KARA (12), SB18

nake Assemblies: Entertainment Metals

ubwoofers: L-Acoustics K1-SB (24), SB28

ound Co

how/Artist: Lights All Night

ights festivities began at 6:00 pm and ran
ew years experience for EDM fans. Each

his year-end electronic dance music

onsoles: Avid Profile, Midas M32

rew

nstage Systems
ower Distro: Motion Labs

roduction Manager: Hyacinth Belcher

OH Rigging: CM Hoists

OH System

ear

OH Engineers: Jimmy Butera, Tommy

owdy

allas Market Hall, Dallas, TX

vent Details: (about a paragraph of

reakout Assemblies: Ramlatch

rive Processing: Dolby Lake
second day of fun on January 1, 2016 at
Jon Bellion Tribeca Film Festival
Tony Bennett
with Quinn XCII

The artist performed a Jersey classic April 11, 2017. The concert took place April 21. Boulevard Pro gear supported the festival from April 25-28.

Sound Co ACIR Professional Sound Co Stewart Independent Sound Co Boulevard Pro

Production

Venue Venue Venue

Count Basie Theatre, Red Bank, NJ Merillat Center, Adrian College, Adrian, MI Beacon Theater, New York, NY

Crew Crew Crew

FOH Engineers: Dominick Friia, Tom Young (BE) FOHEs: Josh Cohen (JB), Austin Lanning (SIP) FOH Engineer: Jason Greenberg
Systems Engineer: Dan Maggio Monitor Engineer: Charlie Mammoser (SIP) Monitor Engineer: Daryl Moore
Systems Engineer: Austin Lanning (SIP)
Systems Engineer: Tom King
Gear Production Managers: Josh Cohen (JB), Pat
Production Manager: David Ferdinand
FOH Brown (Q), Dan DeVisser, Shannon Stewart (SIP)
Tour Managers: Brian Wilson, Jesse Coren System Tech: Vernon Perrone
Console: Yamaha PM5D RH
Speakers: (16) d&b audiotechnik Q1 System Techs: Matt Dominguez
Amps: (6) d&b audiotechnik D12, (3) Yamaha T3n Gear
Breakout Assemblies: Whirlwind Gear Console: Yamaha CL5
FOH Speakers: L-Acoustics Kara, SB28
Snake Assemblies: Whirlwind
Console: (1) Avid Venue SC48
Power Distro: Motion Labs Amps: LA Raks
Speakers: (6) RCF TTL6A, (4) RCF TTS36A Arena
Rigging: (2) CM -ton motors Subwoofers, (4) RCF TT052A Front Fill Power Distro: Lex Products
Amps: RCF Active Rigging: CM
MON Plug-ins: Eventide, Focusrite, Waves Breakout Assemblies: L-acoustics C-com
Speakers: (6) d&b audiotechnik Q1, (2) K-array Power Distro: SIP 200A 3 Phase Snake Assemblies: Ramtech
KR200, KL18MA, (5) Tannoy V12 Rigging: RCF, (2) RCF Fly Bars, (2) CM Lodestar 1 Ton
Amps: (3) d&b audiotechnik D12 Breakout/Snake Assemblies: Whirlwind Power-
con Systems, Whirlwind Medusa Sub-snake MON
Mics: (2) AKG C414, (2) AT4033, (1) AT4051, (1)
Systems, 56 Channel W4 ISO-Splitter Console: Yamaha CL5
Neumann KSM105, (2) AT4047, (2) Sennheiser 604,
(2) Sennheiser 421, Sennheiser 3032 RF Speakers: Shure PSM1000
MON
Show Notes Console: (1) Avid Venue SC48 Event Details
Speakers: (7) RCF TT25-SMA Floor Monitors, (2) Boulevard Pro gear supported the festival from April
The legendary 90-year-old artist (yes, he paints, as RCF TT22A-MK2 Point Source, (5) RCF TTS18A 25-28, 2017, with events ranging from live perfor-
well as sings), was born in Queens but spent many Subwoofers
years living in Englewood, NJ. Bennett performed at mances to film screenings. Special guests drawing
Mics: Assorted dynamic and condenser plus
the venue named after his longtime friend and col- (12) Units Sennheiser Stereo G3 IEM complete, crowds and media attention included P. Diddy, Faith
laborator, the late William Count Basie. (4) Shure ULXD/KSM8 complete Evans, Lil Kim and live interview between Tom Hanks
Power Distro: Whirlwind AC Dist. Systems and Bruce Springsteen.

For over 40 years customers have turned to us
to design and fabricate the most demanding
of audio interface systems, from world class
stadiums to elaborate churches, from the
biggest concert tours to the White Houses
pressroom in Washington DC. When you need
the most durable system, with unsurpassed
detail and presentation call the experts at
Whirlwind and have us spec your next project,
and put our years of expertise to work for you.

FOHINTERVIEW
50 Anniversary Tour th
A
lot of changed in 50 years of touring
for Neil Diamond, save for one: his
fierce loyalty to his band and crew. At
the top of that list is Stanley Miller, who has
been on the road with him for 49 of those 50
years. Theres no one saying that he or she
has been with one artist working audio for as
long, and its hard to image anyone topping
Millers longevity with a single artist.
Miller is much more than an audio en-
gineer for one of pop musics biggest stars
in 2009 he was honored with the Parnelli
Awards Audio Innovator honor, not only his
work on the road, but his commitment to
Those who equalize best, equalize least.
Stanley Miller
innovation and embrace of new technology.
[See Millers Parnelli Documentary at parnel-
liawards.com.] When Miller recently came
through St. Louis (my home town), I sat down
with him and we talked history, this tour, and
whether anybody is retiring (spoiler alert: the
answer is no).
So its Neils 50th tour, and your 49th
Stanley Miller: I will send you a playbill of
the first time I ever saw Neil it was in Des
Moines. I was doing sound for a live event put
on by KRNT Radio in 1967. This one included
Neil. A year later I was on tour with Peaches &
Herb, and he was sharing the bill with them
at a little theater at the University of South
Dakota. His road manager came over and ask
if I would do the next show for him, and Ive
been with him ever since.
Anybody with him longer?
[Pauses] The accounting firm!
34 MAY 2017 fohonline.com
Stanley Miller Recounts His 49 Years with Neil
By Kevin M.Mitchell
Whats your secret to not getting fired?
Yes sir, no sir, sorry sir, right away sir!
Neil is a very loyal person. While Im glad hes
stuck with me, its interesting that over the
years, hes allowed me to experiment, try new
things.
Otherwise, there are a few things I learned
early on. One, the check I get comes from the
people who come to see him. The band is im-
portant and needs to be supported, but the
people come to hear Neil. They want to hear
every word clearly and distinctly. Never cover
up the lead vocals, which need to be above
everything else. Second, keep things simple.
For example, Ive always said that those who
equalize best equalize least. I use a minimum
of effects at this point, I dont have a single
outboard effect. I just use whats in the con-
sole and not much of that.
Can you talk about some of the changes
through the years?
The days of being on the bus are behind
us. Today all the 70 personnel fly on a char-
tered plane. On this tour, we have 11 trucks
of gear. In the early days, we had no trucks
wed just ship the equipment on a com-
mercial airplane. Id drive the truck up to
baggage check-in, slip the skycap $20, and
send the equipment that way. I remember
once we were to play here in St. Louis days
later from when I shipped it. When we ar-
rived, I went to the airport and there were
our bags of 20 or so speakers and amps, just
going round and round the baggage carou-
sel
For days?!?
[Laughs] Yes. Nobody stole it. The airport
guy was like, I knew someone would eventu-
ally pick it up!
Your pioneering of digital is well document-
ed, particularly with your work with Yama-
ha in the 1990s.
I moved to digital very early and everyone
thought Id lost my mind! But even then I tried
to keep things simple and straightforward,
and I think thats important in the long run.
Some still complain that it takes the
warmth out of music.
It can. When everything is digital, it can be
like a bulldozer pushing you down the road, this
wall of sound. Today the technology is there, but
it still can be tough to create that right sound for
the artist. You can get the vocalist up on top and
fill in around it like Barbra Streisand. But with
too many artists, it just becomes noise.
Any comment on trends in mixing?
A lot of times, I think people are using too
much of everything [effects, etc.]. I rarely go
to other shows I dont like crowds, its too
loud, and they rarely play Mozart! But I went
to see [unnamed big pop star]. Talented sing-
ing, but it was so muddled, and you couldnt
understand a word he was saying. It wasnt
well controlled.
Whats different about this tour than, say,
just a few years ago.
MICHAEL WEINTROB
We have a very clean stage. Everyone has
IEMs and its all direct. When there are no
speakers on stage, you have better control
of things. About 10 years ago, we got rid of
the last stage monitor, and I was happy about
that.
Did Neil adjust to that?
Neil was the last one to go with IEMs. His
biggest concern was not hearing the audi-
ence, but [monitor mixer] Bernie Becker mix-
es it in, and once that happened, he realized
it was better for many reasons. Getting rid of
the stage monitors allows us to make the hall
sound better. We went through stages in the
early days when it was way too loud, and to
get Neils vocals on top of that was challeng-
ing. But with the stage clear of monitors and a
properly tuned system, its good now.
Even in the enormous variety of halls and
arenas you play in?
Every once in a while, I have to change
something. But mostly, we have [System
Tech] John (Drano) Drane. Hes been with
me 28 years and is an expert at loudspeaker
layout. The ability in general to get coverage
anywhere is much more precise than its ever
been.
John Denver played the [old St. Louis]
Checkerdome he freaked out when we
hung the speakers! Ive always prided myself
in putting a system together that gets the
best coverage no matter where we are. When
I first started hanging the flying junkyard I
had separate horns aimed in different direc-
tions to try to control what was going on.
The new systems we have offer much better
control. This is the second time weve had this
system out. On the last tour, we were the first
to take it out with the new waveguides in all
the boxes. It just made all the difference in the
world.
 MICHAEL WEINTROB
KEVIN M. MITCHELL

Monitor and recording engineer Bernie Becker (left) and Crew Chief Greg Chico Lopez

What speakers are you using?
Its a JBL VTX-25-II, and its the best system
weve ever had, the best of anything weve
had on the road. We have a huge amount of
power up there, like 1.2 million watts.
A bit different from the early days, eh?
When I first went out with Neil, I think I had
two speakers, two 80-watt tube amps, and a
four-channel mixer. No monitors at all back
then, though I would sometimes have an-
other speaker and turn it to the stage. I intro-
duced stage monitors to Johnny Cash but
again, they can be a source of trouble.
I remember being in London, and we were
going to play the Roundhouse. The night
before we were to play there, I went down
there to hear Elton John and Leon Russell. It
was such a [fricking] acoustic disaster I was
sick to my stomach. I had to go back to my
hotel and lay down. The next night we went
in there with our band and the addition of
What mics are you using?
Almost all AKG. We like the sound of them.
We used to use Shure, but the AKG dynam-
ic was better for Neils voice. Over the years,
weve tried several different things, but these
sound good. The 414s are usually used for re-
cording, but Im using them on the overhead
drums and on the horns. They have been very
reliable and work every day, with a little care-
ful handling.
Any crazy stuff going on the road like the old
days?
[Pauses carefully] Sometimes we did some
stupid things, but they were never that crazy.
You have to remember I grew up in Nebraska!
I once had bell-bottom pants, pageboy hair
on the sides and bald on top. That was about
as crazy as I got.
Any talk of retirement for Neil or you?
I have never heard Neil say the R word. As
KEVIN M. MITCHELL

a string orchestra. We rehearsed them and I
miked it, the whole time thinking it was go-
ing to be a disaster. Terrible acoustics with an
installed system from a local sound company
that wasnt good. But I realized then, that the
night before it was so loud because of all the
stage monitors. Once we got rid of all the
stage monitors, the show was perfect!
for me, I dont know anything different. Ive
been on the road all these years. One night,
Neil said on stage, we just keep packing and
unpacking and I thought thats what we do
best! Some years ago, I told him, If you keep
going, Ill try to keep up.
FOH engineer Stanley Miller in his element

What board are you using on this tour?

Yamaha CL5 and Bernie has two CL1s. I
used the CL5 on the last tour and it served us
well. Its easy to operate and does everything I
need it to do. Now it has new software and its
improved more. I wanted the PM10, but be-
cause neither Bernie nor myself had enough
time to redo everything necessary to switch,
and without doing that we couldnt have tak-
en advantage of hooking up the new Yamaha
Digital Rio System. It all interfaces with Dante.
I like the CL5 so much we bought it. It has 64
inputs, and Im using under 40. And the re-
call on the mixer is great. When the system is
working right and you can cue up the song,
and channels open and close on their own
there is less mixing going on because of the
recall ability. This gives me more time to listen
to the music and concentrate, without worry-
ing if the right channels and other settings are
right. In the old days, you were always looking
to see what channel was doing what and you
couldnt concentrate on the big picture.

How many people are on stage?

Two keyboards, two background singers,
two guitars, drums, percussionist, bass, and
four horns. With Neil thats a total of 14.

fohonline.com MAY 2017 35

FOHINTERVIEW

50 th
Anniversary Tour
AUDIO CREW
KEVIN M. MITCHELL

Stanley Miller with FOH tech Jonathan Melton
KEVIN M. MITCHELL
Sound Company: Sound Image
Sound Designer/FOH Engineer:
Stanley Miller
Monitor/Recording Engineer: Bernie Becker
Senior System Engineer: John Drane
Senior system engineer John Drane FOH System Tech/PA Tech: Matt Grabe
FOH Tech: Jonathan Melton
Crew Chief, Monitor/RF Tech: Greg Chico
Lopez
Stage Sound Tech: Scott Lawhead
P.A. Tech: Wayne Chan Teaster
Backline Techs: Peter Danilowicz (keys),
Dave Wright (drums), Dave Rapp (horns),
Kit Charlton (guitars)
Executive Sound Advisor: Sam Helms,
Sigmet Corp.
Arch Angel Studio Manager & Archivist:
Sam Cole

P.A. SYSTEM
Mains: (32) JBL VTX-25-II in L/R hangs of 16
each
Behind Stage Coverage: (12) JBL VerTec
VT4886 in L/R hangs of 6 each
Stage Front Fill: (8) JBL VerTec VT4886
Out Fill/Side Fill Speakers: (64) JBL VTX V20
Subwoofers: (24) JBL VTX-S28 (12 per side)
Amplification: (96) Crown I-Tech 12000HD
System Control: (3) dbx DR-4800; (2) Dolby
Lake LP8D8

FOH GEAR
FOH Console: Yamaha CL5
FOH Monitors: JBL LSR305s
Analysis/Control Software: JBL HiQnet
Performance Manager 2.3; Rational Acoustics
Smaart 7
Signal Distro: Riedel RockNet; Yamaha
DME64N

MON GEAR
Monitor Consoles: (2) Yamaha CL1s
Outboard: Manley Mastering Slam!;
Dangerous Bax EQ; dbx 160SL
Recording: Avid Pro Tools | HDX
Digital Clocking: Antelope Eclipse 384 64 bit
Acoustically Focused Clock
IEM Hardware: AKG SPR 4500
Band Personal Monitor Mixers: Aviom A320s
Mics: AKG D12VT, D40, D5, C414, 430, 518s
Wireless Mics: AKG DHT 700 series
D.I. Boxes: A-Designs REDDI tube direct boxes
MICHAEL WEINTROB

36 MAY 2017 fohonline.com

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PRODUCTIONPROFILE

VER Brings the Live Concert

Experience to Life By Thomas S.Friedman
ot exactly your typical tour, the Game of Thrones Live Concert Experience wrapped

N up last month, with the shows composer Ramin Djawadi bringing the music of
the wildly popular HBO series Game of Thrones off the screen and onto an in-the-
round, 360-degree live immersive stage concert experience featuring 807 linear feet of
jumbotrons and 3-D designs that rise from the stage floor. Oh, and sound lots of sound.
Music-wise, it wasnt quite the usual either. Djawadi conducted an 80-piece orchestra/
choir performing highlights from the series musical score that included nearly a dozen
unique instruments designed specifically for the show.
The 24-city arena tour throughout North America tour kicked off Feb. 20, 2017 at the
Xcel Energy Center in Minneapolis and then wound itself through 18 states and three prov-
inces before ending on April 2nd at Portlands Moda Center. Handling audio for the outing
was VER Tour Sound, employing a massive 134-box Meyer Sound rig.

Big, Big Show

Two circular main stages, named Kings Landing and Winterfell, were powered by 96
Meyer Sound LYON-M two-way, double-12 line array boxes, 32 1100-LFC Low Frequency
Control Element double-18 subs and six JM-1P 15-inch two-way, trapezoidal cabinets. Be-
tween the two main stages are four smaller stages, with each named after different loca-
tions from the world of Game of Thrones. A runway between the two main stages is also
used as a location. The show reached full epic potential with scenery and footage from the
show displayed via LED telescoping and wall screens.
The production is nothing short of epic in every sense. The statistics associated with
the presentation are on a scale that rivals the sweeping landscapes of the Seven Kingdoms
on the continent of Westeros. The two connected main stages and five satellite stages are
illuminated by 250-plus lighting instruments. More than 800 linear feet of video wall, mov-
ing multi-tiered screens suspended above the two main stages plus four IMAG screens
are used to create scenic backdrops and display footage from the first six seasons of the
popular HBO series. Everything is transported in 15 semi-trucks, which, along with eight
buses for the musicians and crew, have traveled nearly 12,000 miles by the end of the six-
week tour.

Inside the Mix

Besides the lighting, staging and immense sound system, another key part of bringing
the Seven Kingdoms on the continent of Westeros to life where most of the action in
Game of Thrones take place comes via three DiGiCo mixing consoles.
A DiGiCo SD7 is at the FOH position, manned by Grammy Award-winning engineer Greg
Collins, with a second SD7 at monitors, helmed by veteran engineer Adam Stuart, whose
credits include working with top acts such as Kiss, Mtley Cre and Alice in Chains. A DiGi-
Co SD11 handles utility mixing functions. The thought behind the SD11 is to be able to do
what we need to do with the P.A. and tune the rig before the front of house console is tied
in, because originally front of house was going to be isolated in a separate room, explains
VERs Beau Alexander. However, those plans changed during production rehearsals, he not-
ed. Now, Greg is located just off the big Kings Landing stage.
The DiGiCo desks were chosen for several reasons, Alexander says. Number one, its
an engineer preference. Number two, the production is at 156 inputs. The productions
65-piece orchestra and 15-member choir are comprised of touring and local pickup musi-
cians, plus eight traveling instrumental and vocal soloists all conducted by Djawadi. And
this is anything but the typical rock/pop tour the show features nearly a dozen unique
instruments designed specifically for the show, including the 12-foot Wilding horn.
Alexander added that being able to link the SD Racks together via the Optocore net-
work made life a lot easier. Then, being able to dedicate which output cards the engineers
can see, based on location whether front of house or monitors also makes life easier.
The tour is carrying five DiGiCo SD-Racks, split between inputs and outputs at FOH and
monitor world and also supporting Pro Tools HD playback. The whole show is run off time
code, says Alexander. All the counts and everything that the conductor sees is all mapped
to time code and everything is clocked from Pro Tools. As Pro Tools is running at 48 kHz, the
whole system, including the desks, is also at 48k.

The End and Beyond

The Game of Thrones Live Concert Experience features some of the most memorable
character themes and songs from the shows six-year run to-date. It really is all about the
music, Alexander comments. They use the video to tie in whatever song theyre playing,
using clips from that moment of the show, to put you into that place in the show. Accord-
ing to the production statistics, by the end of the tour the performers will have played the
Game of Thrones main title 850 times.
The Game of Thrones Live Concert Experience wrapped up in Portland, Oregon on April
2 but we have a feeling that we may just see a reprise of this successful production at
some future date, as HBO recently announced that the shows seventh season would pre-
mier on July 16.

38 MAY 2017 fohonline.com

 TODD KAPLAN
TODD KAPLAN
FOH engineer Greg Collins
PHOTO COURTESY DIGICO

The audio crew takes a rare breather to gather for a group photo.

CREW AUDIO SYSTEM

Sound, Lighting & Video Company: VER Tour Sound Main P.A.: (96) Meyer Sound LYON-M line array boxes, (6)
FOH Engineer: Greg Collins JM-1P trapezoidal cabinets
Monitor Engineer: Adam Stuart Subwoofers: (32) Meyer Sound 1100-LFC Low Frequency
VER Sales/Accounts: Beau Alexander Control Elements
Production Manager: Jimmy Pettinato FOH Console: DiGiCo SD7
Stage Manager: Steve Roman Utility Console: DiGiCo SD11
Monitor Console: DiGiCo SD7

Monitor engineer Adam Stuart

ANDRES JIMENEZ/GYNOOK PRODUCTION

Due to the multiple screens and overhead set pieces, the Meyer LYON P.A. system for the 360 in-the-round performance had to be hung in
high J arrays and aimed steeply downward.

A Point Source Audio CR-8D headset mic was the ideal solution for miking featured winds soloist Pedro
Eustaches assortment of instruments.

A Slick Miking Trick

T
he featured winds soloist for the tour, Pedro Eustache was honored to
be invited on the outing by composer Ramin Djawadi. Eustache, is a flau-
tist, reeds, world woodwinds, wind synthesist, composer and lecturer,
with his career spanning more four decades. He has a long history of sym-
phonic experience and a collection of some 600 instruments from all over the
world, many of which he designed, built or modified himself.
Eustache channels Game of Thrones iconic Songs of Ice and Fire through
15 different instruments including and a 12-foot horn he flexes across the
stage, saying it feels like Im doing martial arts. Capturing the eight exotic
flutes he plays on the tour, Eustache uses a Point Source Audio flagship CR-
8D cardioid headset microphone. Besides offering the sonic quality he was Individual violins and violas were miked via clip-on DPA 4099s. The size of this monster drum dwarfs the E-V RE20 mic used to capture it.
seeking, the mic also provides a few additional bonus features that proved
TODD KAPLAN

invaluable on the tour.

Using a headset model rather than detachable instrument mics was
a clear advantage. I can get it incredibly close to my mouth to capture the
sounds, said Eustache. A typical instrument mic is not going to work; I play
too many instruments and theyre not that practical for me.
He also took advantage of the CR-8D extendable boom length, which al-
lows me a lot of placement choices. added Eustache. Additionally, the mics
unbreakable boom flexibility allowed Eustache to quickly stair-step the mics
boom to the right angle no matter which instrument he was playing. He also
cited the CR-8Ds collapsible ear hooks as a definite convenience. The mic can
become incredibly compact for transportation, he noted.
Immediately after the Game of Thrones Live Concert Experience tour, Eu-
stache was on the road again, this time with the Hans Zimmer Live Tour. And
given his headset mic success for that outing, he would also be packing Point
Source Audio flagship CR-8D.

Layout of the players during an orchestral soundcheck. Note the plexi barriers between the horn and string sections.
fohonline.com MAY 2017 39
INSTALLATIONSPOTLIGHT

A
udio installations and upgrades within sports The task is further complicated by issues such as

SPORTS
facilities typically present severe challenges reverberation and intelligibility particularly in en-
to integrators and system designers. Per- closed spaces. Another significant factor to be con-
haps the most formidable of these is the sheer scale sidered is the exuberance of the fans themselves, and

FACILITY
of multiple coverage areas. The latter often entails
working with enormous, cavernous open-air spaces
while also delivering an acceptable listening experi-
ence to everyone occupying the seats, whether fans
the need for the P.A. system to be heard above crowd
noise that can easily peak at 105 dB or more. Last but
not least are the challenges of getting the entire in-
stallation performed correctly, safely, on time and on

PROJECTS
are courtside or in the upper nosebleed seats of an
arena or in a stadium project on the grand-
stand, bleachers, end-zones or beneath a second or
third deck.
Enhancing the Fan Experience Meanwhile, with the rise of multi-use facilities,
such as baseball one day, football the next or bas-
with New Audio Systems and ketball/hockey shared with concerts, the situation
Upgrades By GeorgePetersen facing the audio system designer become that much
more complex.
budget, when those two invaluable commodities
time and money are so often in scarce supply.
With that in mind, we decided to look into seven
widely divergent recent sports facility installation
projects. Each of these were entirely different, not
only in capacity, but also in system/venue criteria,
yet all with successful outcomes that worked for all
concerned designers, integrators, teams, manage-
ment, and most of all, the fans.

Home of the NFLs Philadelphia Eagles, the Lincoln

Financial Field stadium recently got a sonic upgrade.

Lincoln Financial Field, Philadelphia, PA

O
pening in 2003 to re- The Ferguson Recreation Center on the Fairleigh Dickinson University campus.
place the aging Veterans
Stadium, Philadelphias Ferguson Center, Fairleigh Dickinson
Lincoln Financial Field is home University, Madison, NJ
to both the NFLs Philadelphia Ea-

S
gles as well as Temple Universitys ituated on the Fair-
Temple Owls football team. The leigh Dickinson
seating capacity is 69,176. University (FDU)
Recently the Lincoln Financial K-arrays Anakonda flexible near-field/fill speakers added close-in campus in Madison, NJ,
Field underwent a two-year ren- intelligibility. the Roberta Chiaviello
ovation plan to enhance the fan experience. Improved amenities included new HD Ferguson and Thomas G.
video boards, Wi-Fi and seat expansion. To accommodate some of these updates, Ferguson Recreation Cen-
the stadium had a requirement to provide top quality sound to premium seating on ter is the home of the FDU
the edge of the football field. With sub-par sound arriving from distant speakers, the Devils, the universitys di-
front row seats needed a bit of a boost for optimum intelligibility. With little space vision III sports program.
available for speaker mounting, K-array offered just the right solution. The facility includes three
Installers Diversified Systems was first introduced to the Italian manufacturer a full-size basketball courts,
few years back at a demo and reached out immediately to K-array America to de- two racquetball courts,
termine a P.A. that would meet all the clients needs. Together they designed a sys- a weight-training room, Four RCF P6215 coaxial speakers form a central overhead cluster.
tem using the Anakonda KAN 200+, a flexible, 2-meter (6.6-foot) speaker that has a a fitness center, coaching offices, an elevated jogging track and a competition-sized
snakelike-ability to bend to match curves surfaces and up to 16 of these can inter- swimming pool.
connect to form a continuous 32-meter (105-foot) length. Recent upgrades at the Ferguson Center athletic complex called for upgrades of the
Each Anakonda KAN 200+module is approximately 2-inches tall and 1.5-inches existing public address system. To cover the gymnasium a multi-purpose facility that
thick, making them ideal for discreet (indoor or outdoor) front fill or exhibition ap- seats 2,300 for athletic contests, basketball, volleyball and other activities the solu-
plications. Components in each are 16 1-inch neodymium drivers with a 300-watt tion called for four RCF P6215 speakers positioned in a centralized overhead quadrant.
AES power handling. The installation was done by Andover, NJ-based Jerzy Sound.
The Anakonda is very low profile, offers a built-in daisy chaining feature and can The P6215 is a weatherproof full-range, coaxial two-way system that combines a 15-
survive outdoor installations, explained project supervisor and engineer, Jeff Dyk- inch RCF woofer with a 1.3-inch exit HF compression driver mounted on a constant di-
house. These qualities made it ideal for this sort of application. Dykhouse, along with rectivity, wide-dispersion (60 x 60 degree) CMD horn for high output and longer throw
director of AV engineering Pete ONeil, project manager TJ Beardsmore, had 22 Ankon- applications. Although used in an indoor facility, the P6215s weatherproof feature was
da units mounted along the curvature of the stadium seating, powered by a QSC CXD important due to the high humidity environmental conditions within the athletic facil-
amplifier thats connected to the larg- ity. Each enclosure includes 12 M10
er DSP system at the venue. Lincoln Financial Field inserts and a stainless steel U-brack-
The clients are happy and we Capacity: 69,176 et providing mounting flexibility in Ferguson Center Athletic
are sure our efforts will help fans to Key Components: K-array Anakonda a variety of installations. A single Complex
cheer their teams to winning sea- KAN 200+ Capacity: 2.300
four-channel RCF QPS9600 amplifier
Integrator: Installers Diversified Systems Key Components: RCF P6215 speakers
sons, exclaimed Dykhouse. powers the entire system.
Designer: Installers Diversified Systems Integrator: Jerzy Sound

40 MAY 2017 fohonline.com

 Sheikh Mohammed Hussein Ali
Al-Amoudi Stadium, Woldia, Ethiopia

I
naugurated on January 14, 2017, the new Sheikh Mohammed Hussein Ali
Al-Amoudi Stadium and Sport Center in Woldia, Ethiopia, wasbuilt at a cost of
more than 500 million Ethiopian Birr (approximately $22 million U.S. dollars).
Besides being a huge boost for the local economy, construction of the stadium
will create opportunities for Woldia to host national and international competi-
tions as it meets FIFA and IAAF requirements.
The facility is Ethiopias first of its kind stadium fitted with a roof. Besides its
large, turf soccer field, the stadium also has 10 entrance gates, a swimming pool,
an eight-lane competition track as well as basketball, handball, volleyball and
tennis courts.
The sound installation was arranged via XSyn Corporation (Technomads Ethi-
opian distributor) and is comprised of 15 Technomad Noho Ci and three Tech-
nomad Berlin loudspeakers that ring the stadium, with the speakers making the
long trek of more than 6,730 miles from the companys South Deerfield, MA facto-
The new stadium in Woldia, Ethiopia opened in January 2017.
ry. The Berlin speakers are two-way systems with a 15-inch woofer and 2-inch exit
Technomad speakers such as the model Noho Ci outlined here in red HF driver all in a tough, weatherproof molded enclosure. Intended specifical-
ring the stadium roof, forming the bulk of the sound system. ly for installations, the Noho
Ci Technomads newest
speaker is a two-way, 12-in- Woldia Stadium
ch/1-inch exit design, also in Capacity: 25,600
a molded enclosure. Both the Key Components: Technomad Noho
CiandBerlin loudspeakers
Berlin and Soho Ci are offered
Supplier: XSyn Corporation
in 14 available colors.

Carver-Hawkeye Arena, University of Iowa,

Iowa City, IA

C
onstructed in 1983, the 15,400-seat Carver-Hawkeye Arena is home to the Uni-
versity of Iowa Hawkeye basketball, wrestling, gymnastics and volleyball teams. It
also hosts the big-ticket concerts (Whitney Houston, Metallica, and Guns N Roses,
to name a few), graduation ceremonies, and speeches (including Jimmy Carter, Bill Clin-
ton and Desmond Tutu). Recently, the Arena joined the universitys 70,000-seat Kinnick
Stadium by deploying a Danley Sound Labs sound reinforcement system. Also part of the
arenas upgrade was a DiGiCo S21 console, D-Rack stagebox and a QSC Q-Sys DSP system.
Larry Lucas of Anthony James Partners (Richmond, VA), designed and commissioned
the new Danley system, with assistance from acoustician Doug Jones, with the Danley
team. The same duo was responsible for the recent Kinnick Stadium project. Minneapo-
lis-based Parsons Electric both the Kinnick and the Carver-Hawkeye Arena installs.
Amazingly, Carver-Hawkeye Arena managed to get by with the original installed
sound system for over 30 years, explained Parsons Electric field systems engineer Dave
Potts. They were hoping for much better intelligibility, greater musical impact, and im-
Sound Concepts Jay Ratcliff, here at the helm of
proved user control. The new system gives them all of that, and we pulled the old system
the new DiGiCo S21 console, is under contract with
out and put the new system in just six weeks. This included pulling new cable and ne- the school to run the desk for events at the arena.
gotiating with other contractors that were replacing the scoreboards and making other
renovations. For a while, we worked around 14 boom lifts, cranes, and crane trucks on The Mix Side
the floor only five of which were ours. The schools technology rep company, Sound Concepts (also the systems operator for
Eight loudspeaker clusters ring the floor to cover the arenas main bowl. Two of the the venue), selected a DiGiCo S21 digital console, a Purple Box MADI/Optical converter
clusters use a pair of Danley SH-96HOs each, and the remaining clusters use a pair of and a D-Rack stagebox all installed by Parsons audio as part of the facilitys overall
Danley SH-96s each. Two clusters of three Danley TH-118 subs add LF support. Another upgrade.
two Danley SH-96s fire straight down at either end of the basketball court to cover the The budget for the sound systems renovation was cut substantially from initial esti-
floor. Ten Danley SM-80s deliver delayed coverage to the upper bowl. Parsons Electric mates. Nothing comes close to what the S21 can offer at that price point, states Sound
also reconditioned the existing speakers and their wiring in the concourse, separating Concepts president Marvin Smejkal. I knew I wanted a DiGiCo console for this project.
them into eight unique zones and applying delay to time-align them with the rest of Sound Concepts has specd them for other projects, including for the Kinnick Stadium
the system. and the Paramount Theatre in Cedar Rapids, as well as having several in the companys
Fourteen 4-channel Danley DNA 20K4 Pro amps provide 280,000W of powering to rental inventory. The budget wouldnt have allowed for one of the SD series consoles.
the system, with comprehensive signal processing for speaker conditioning. A QSC But the S21 delivers so much functionality for an incredibly cost-effective price.
Q-Sys DSP system provides presets for vari- Smejkal cites the inclusion of a fiber interface on both the S21 and the D-Rack; this
ous arena functions including the ability was important because the project required the use of existing limited cable conduit
to turn individual clusters on/off to scale to between the FOH position, the racks and the arena floor. We needed to use fiber be-
the size of an event. cause of the limited amount of conduit and the length of the cable runs, he says. The
At first I was skeptical whether wed hit S21 addressed that.
all the close seats with these angles, said The Purple Box MADI/optical converter brought the new system even more sig-
Potts. But Danleys pattern control is really nal-transport flexibility. Smejkal enumerates a few of the S21s capabilities, such as its
well defined, and Larry and Doug were able 40 Flexi Input channels, 10 x 8 full processing matrix, 16 assignable graphic equalizers,
to dial everything in so that the system cov- and Dante connectivity (which allowed
ered precisely to the points they required. the S21 to interface with the Q-SYS net-
Carver-Hawkeye Arena
The boxes themselves sound great; even work connecting the arenas P.A. ampli-
Capacity: 15,400 seats
before we dialed anything in, the intelligi- fiers). So much of what the S21 can do Key Components: Danley SH-96HOs,
bility and impact were there. Once we time- is included in the price. For a situation DH96s, TH118 subs; DiGiCo S21 console;
aligned the concourse, the whole system like this, with a limited budget but high QSC Q-Sys DSP
worked together as one unit, regardless of expectations, the S21 is the only real Integrator: Parsons Electric
Danley SH-96HOs, DH96s and TH118 subs provided the overall volume. AJP and Danley really nailed solution. Designers: Anthony James Partners,
punch for the install. the design at Carver-Hawkeye Arena. Sound Concepts

fohonline.com MAY 2017 41

INSTALLATIONSPOTLIGHT
The facility received a number of improvements in-
cluding a new grandstand and clubhouse.
Crabble Athletic Ground, Kent, U.K.
B F
ritish National League soccer club Do-
ver Athletic has substantially invested
in the facilities at its 6,500-capacity
Crabble ground in Kent, both to meet the
football leagues criteria and provide a better
game-day experience for its supporters.
The centerpiece of the venue is the new
1.3-million pound ($1.68 million USD) canti-
levered Family Stand, which provided a much Martin Audios CDD-WR speakers were used
throughout the venue.
needed additional 500-seats (along with im-
proved facilities for players, officials and disabled supporters) and required a state-
of-the-art public address system.
Old Barn Audio (OBA) was awarded the contract, and as the company has done
in the past recommended a Martin Audio CDD (Coaxial Differential Dispersion) solu-
tion in this case dipping into the WR (weather resistant) series. The weatherized
CDD-WR was the perfect choice, states OBA director Phil Clark, and with 32 enclo-
sures installed, it is the largest U.K. CDD-WR install to date.
The company first carried out a demo for the club chairman, Jim Parmenter, using
CDD10-WRs. He was extremely impressed with both the quality and dispersion,
says Clark. As a result, OBAs contract was extended from the Family Stand to all four
stands spread over seven zones. The new design would replace a simple 100-volt,
horn-based system.
Updated TV communications also formed part of the new extension, adds Clark,
which required replacement of all the old electronics, whereas we were able to tie
into the existing infrastructure on the other stands. Commentary for the TV broad-
casts is provided from the new control room.
In terms of speaker deployment, the new Family Stand has been equipped with
four CDD10-WR, fixed to the leading edge of the roof, all angled down using stan-
dard flying yokes to tilt the angles accurately and ensure even coverage.
The 541-capacity Dover End stand now benefits from six CDD10-WR in a row
along the front leading edge in two banks of three (one array angled out and the
other reversed) to respectively cover the walkway in front of the stand and the sup-
porters in the stand itself. Intended for visiting team fans, this seating can be ad-
dressed independently for advanced post-match evacuation purposes. The facing
River Stand offers an identical loudspeaker spec.
The Main Stand is divided into two, bisected by the VIP box and press seating,
which covers two levels. The former is equipped with four equally spaced CDD8-WR
at either end each block variously pointing in opposite directions, while another
pair of CDD8-WRs operate under separate remote volume control for the VIP box,
with two CDD6TX-WR covering the press seating. Finally, the Clubhouse has been
equipped with four of the smaller CDD5TX-WR around the outside of the building.
Says Clark, This is our first football stadium using CDD-WR and we have managed
to deliver a fully integrated setup, The layout itself was straightforward, yet the vast-
ness of the site requiring 1.5 miles of armored cabling proved challenging.
Clark added that the system was designed to be bullet proof, yet with true in-
tegration implemented via intuitive
custom control panels on a 10-inch
tablet to control mutes, volumes, Crabble Athletic Ground
Capacity: 6,500
etc. all linked to a firemans mic
Key Components: Martin Audio CDD-WR,
for evacuation purposes. The entire
Powersoft amps, Symetrix Solus NX DSP
system is driven by Powersoft am-
Integrator: Old Barn Audio
plifiers and controlled by Symetrix Designer: Old Barn Audio
Solus NX DSP.
42 MAY 2017 fohonline.com
The installation included 160 Community Professional loudspeakers.
Sonoma Raceway, Sonoma, CA
ormerly Sears Point Raceway (later Infine-
on Raceway, Sonoma Raceway is a 1.99-
mile auto racing course and drag strip lo-
cated at the foothills of the Sonoma Mountains,
at the edge of the Napa/Sonoma wine country,
about 30 miles north of San Francisco. Capac-
ity is 47,000 in the grandstands and terraces,
although that number can swell to more than
100,000 during major races, when hospitality Part of the goal was to provide speakers with a
minimal visual impact.
tents and other stages are set up around the
track.
The raceway offers one of the countrys most comprehensive racing schedules, high-
lighted by three of the top racing series the Monster Energy NASCAR Cup Series,
NHRA Mello Yello Drag Racing Series and Verizon IndyCar Series, as well as other events,
averaging 340 days per year.The 1,600-acre site also incorporates a motorsports indus-
trial park of more than 70 businesses and 104 shops.
Recently, the Sonoma Raceway complex underwent complete refit of its P.A. system
to enhance the experience for visitors to its year-round event schedule.
While the previous P.A. system served for most events, it lacked quality and intelligi-
bility and could not provide the levels required for the largest events, which necessitat-
ed the hiring of large, obtrusive P.A. stacks. El Cerrito, CA-based Pacific Satellite Inc.
which provided the facilitys sound design/build and A/V event management services
for over two decades was selected for the project.
Besides being familiar with Sonoma Raceways needs, Pacific Satellite Inc. has de-
signed sound systems for many motorsport racetracks, including Phoenix International
Raceway and Auto Club Speedway, as well as for many private commercial enterprises.
Additionally, Pacific Satellite Inc. is often the operator of the systems it builds.
To deliver high quality and intelligibility over the roar of the engines and the cheers
of several thousand fans takes a very special loudspeaker, says Pacific Satellites Jerry
Cot. Communitys R.5 and R.35 loudspeakers are in a league of their own in just how
well they achieve this, but they also have other advantages. Their compact size means
we can position them closer to the audience, improving audio quality and sound level
without spoiling sightlines. Having models with a variety of dispersion patterns really
helps system design for optimum coverage and their reliability in all types of weather
completes the package.
The refit of the P.A. system covered 14 major seating and paddock areas, along
with 18 additional public and competitor audio zones.Some 160 Community R.5HPT,
R.5HPT-R and R.35-3896 loudspeakers provide the coverage, with the system driven by
a 32-channel Yamaha mixer and a BSS London BLU-100 control system with additional
BLU-BOB and BLU-BIB units. Power is delivered by a mix of QSC ISA 800TI and CXD4.5
amplifiers. System software design for the BBS London was handled by Jeremy Yama-
guchi of Eagle Multi-Media Productions. Communitys TAG (Technical Applications
Group) team assisted with soundfield assessment and verification of final designs.
Sonoma Raceway now has an attractive, year-round, high-performance system that
provides quality sound and high in-
telligibility and eliminates the need
for expensive temporary rentals, Sonoma Raceway
adds Cot. It not only offers fans a
Capacity: 47,000 (grandstand and terrace
viewing)
better experience but also delivers
Key Components: Community R.5HPT,
a better product to the worldwide R.5HPT-R and R.35-3896 speakers
television audience with improved Integrator: Pacific Satellite Inc.
sight lines and accessibility. Designer: Pacific Satellite Inc.
 JORRIT LOUSBERG
Amsterdam ArenA
Amsterdam, The Netherlands

T
he largest stadium in the country, Amsterdam ArenA opened in 1996. The multi-use
facility features a retractable roofdesign with a large lawn surface. Seating capacity
is 54,033 when it hosts games by the soccer club Ajax; 68,000 for in-the-round con-
certs; or 35,000 to 50,000 for end-stage concerts. As part of its ongoing upgrade, Amster-
dam ArenA recently installed a new audio solution based on d&b audiotechniks Y-Series
speakers, MediaMatrix NION processing and d&bs 30D and 10D amplification.
Examining the projects needs, Amsterdam ArenAs production manager Tim Oosterop
and head of technology Martin Wielaart, defined four main objectives, which included
complying with UEFA/FIFA regulations for performance and intelligibility; adhering to na-
tional and international safety standards for evacuation systems; addressing the venues
acoustical problems; and enhancing the stadiums ability for non-sport events espe-
cially concerts with a recognized audio brand. Twelve-box hangs of d&b audiotechnik Y-series speakers ring
U.K.-based audio consultant Roland Hemming of RH Consulting, an advisor on the the inside of arena.
2012 London Olympics, was brought in to ensure the system performance met the re-
quirements of both international and Dutch regulations. As far as the challenging acous- Besides providing a vastly improved audio expe-
tics of stadium venues are concerned, says Oosterop, we wanted a system that allowed rience for the fans, the new d&b rig also provides
us to clearly show concert organizers, band managers and event promoters, that we massive savings in power consumption. In order to
made serious inroads into making it possible to achieve the highest quality sound. comply with evacuation regulations, the old system
Oosterop adds that d&bs ArrayProcessing software interfaces invisibly with the arenas had to be on 24/7, so if you hit the evacuation but-
existing MediaMatrix NION management system, which creates a simple, easily executed ton the response of the system was immediate, says
route to accommodating a variety of event formats, without compromising safety stan- Oosterop. The new d&b solution can be off when
dards. We can present acoustic models and predictive scenarios to those planning to not in use. Now, at any time, if you hit the evacuation The entire system is driven by d&bs D-Series amplifiers,
bring shows here, he notes. button, the system responds in linked via Dante to MediaMatrix NION processing.
Flexible formatting was incorporated into the system design from the very start. To half a second. Additionally, the
switch to concert configuration, three of the line array clusters pivot, explains d&bs Stefan new system includes default Amsterdam ArenA
Goertz. These turntable arrays operate on a simple principle. Mechanical pins are pulled control presets created by Amp- Capacity: 35K to 68K, depending on configuration
by a rope from the catwalk. A second rope allows manually turning the array, and the co/Flashlight (the arenas audio Key Components: d&b audiotechnik Y-Series,
spring-loaded pin clicks into a second slot to lock the array in concert orientation. Its a re- service provider), which triggers MediaMatrix NION
liable manual process; with no need for complex electric motors linked to positional con- the evacuation system to move Designer: Roland Hemming, RH Consulting
trols. At the end of the football season, the arrays can be quickly and easily repositioned. people out zone by zone.

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fohonline.com MAY 2017 43

 INSTALLATIONS
A House United
Audio Upgrade at South Carolinas
House of Representatives Chamber
Gets Bipartisan Support By R.Maxwell
T
he South Carolina House of Representa-
tives consists of 124 part-time citizen leg-
islators elected every two years to repre-
sent the states 124 separate single-member
districts. Operating from the House of Repre-
sentatives Chamber, officials recently oversaw
a massive restructuring of the Chambers AV
facilities, which in addition to legislative ses-
sions, is also used occasionally for a wide range
of special events.
Augmenting an impressive assortment of
video display and projection capabilities, the
space is now home to a sophisticated audio
system that incorporates Distributed Mode
Loudspeaker (DML) technology from Tecton-
ic Audio Labs, over 150 microphones and a
redundant networked QSC Q-SYS system for
control of the various audio assets all of
which is ultimately under Crestron automation
control.
Deliberative Designs Consulting, LLC, of
Colorado Springs, CO, a consulting firm that
specializes in providing acoustical solutions
and integrated systems design for deliberative
bodies (legislatures), conference facilities, per-
44 MAY 2017 fohonline.com
forming arts centers, entertainment venues,
and recording facilities, oversaw the design
and implementation of the facility upgrade
at the House of Representatives Chamber. Mi-
chael Schwartz, the firms principal consultant,
working in conjunction with a variety of fabri-
cators, engineering firms, AV integrators, and
others, discussed the project.
I have been a consultant to the SC House
since 1998, Schwartz reports. In 2012, I start-
ed discussing a new type of system based on
Distributed Mode Loudspeaker arrays with
Charles Reid, the clerk of the House of Rep-
resentatives and director of house person-
nel. We had first demoed many conventional
loudspeaker systems, but after much discus-
sion, Charles suggested I show him my ideas.
I assembled a comprehensive report outlining
my vision and then commenced to do sever-
al proof of concept demos over the next two
plus years. Charles wanted a dramatic im-
provement in the sound system that would
carry the House into the future.
The first step was to do a brain transplant
with a new DSP system. Schwartz designed
and had a contractor install a large new QSC
Q-SYS system, with analog inputs and outputs
to work with the existing equipment. With the
new brains in place, the plan was to transi-
tion to a completely new distributed and net-
worked audio system to significantly improve
in overall quality and speech intelligibility.
According to Schwartz, the second phase
of the project began in 2014 and installation
commenced during the summer of 2016
in time for the 2017 legislative session. It was
during this period that the new loudspeakers
were installed, the Q-SYS platform was vastly
expanded, and much of the other heavy lift-
ing occurred.
Inside the Chamber
Overall, the Chamber is about the size of
a medium to large concert hall. This is a very
stately facility with ornate trim around the wall
and ceiling areas, encompassing more than
100 years of use with little change to the phys-
ical structure and architecture. Hence, it was
important to implement the AV upgrade with-
out detracting from the character and histor-
ical significance of the room. The rooms age,
historical nature, and naturally poor acoustic
qualities created a uniquely problematic chal-
lenge for the design and installation of the
technology.
The rooms age, historical nature, and
naturally poor acoustic qualities created
a uniquely problematic challenge for the
design and installation of the technology.
The chamber floor has the desk area for the
123 members on the floor of the chamber, sur-
rounded by a brass guard rail, and a centered
well podium. The rostrum spans the front of
the room facing the members. There is seat-
ing along the side walls on four large benches.
There are also two large staff workstation desks
on either side below the daylight LED video
displays (from IRC/Daktronics). These displays
are used primarily for voting results, but can
also display multimedia or still images. A large
wooden clock tower behind the Speaker of
the House podium rises above the rostrum
platform up to nearly the ceiling in the center
of the room. Two large motorized screens on
each side of the rostrum can be lowered and
are housed in decorative boxes. These are Cre-
stron controlled and typically used with video
projectors displaying an Elmo high-def docu-
ment camera or Crestron DigitalMedia presen-
tation graphics / multimedia playback.
A balcony referred to as The Gallery
has seating for 200 guests, allowing the
general public to watch proceedings.
The Speakers in the House
Two main customized loudspeaker arrays
attached to the custom Daktronics LED voting
displays (scoreboards) on each side wall ad-
jacent to the rostrum were designed by Delib-
erative Designs and Steve Carter at Columbia,
SCs Custom Welding and Fabrication. Custom
engineered Tectonic Audio Labs DML loud-
speaker panels are affixed to the far left and
right sides of the scoreboards. There are three
DML panels on each frame, and two Stage Ac-
company compact ribbon drivers (provided by
Tectonic). These loudspeaker systems reside in
custom cantilevered arrays. The design facil-
itates the safe placement of the arrays above
peoples heads and enables the display door
frames to be opened to access all of the elec-
tronics behind the displays.
These display / loudspeaker arrays were de-
signed with extensive vibration control to pre-
vent visual distortion artifacts from showing
on the LED displays due to speaker vibration.
Custom isolating neoprene rubber stand-offs
were designed for the weight of the speaker
components in the shear direction, and were
combined with special 3M vibration isolation
adhesive neoprene rubber tape and foam iso-
lation blocks. Both the front and rear of these
arrays are open acoustically to work properly
with the Tectonic DML panels, which are di-
pole devices.
Tectonic speakers were selected for their
unique form factor and audio performance.
The Tectonic flat panel DML design differs sub-
stantially from conventional loudspeakers that
use uniform pistonic motion to create sound.
The primary goal with a conventional loud-
speaker design is to ensure the diaphragm
does not have any anomalies i.e., that it
does not break up in its passband. Breakup,
however, is inevitable, so the secondary goal
is to move the frequency of this breakup as
high as possible so that when it does occur,
the crossover filter has significantly reduced
its level.
By contrast, distributed mode loudspeaker
(DML) technology is designed to break up and
not just move as a uniform piston. This break
up i.e., modal behavior, is intentional and
engineered to produce a diffuse sound source
that correlates at the human ear. Conventional
drivers are either point-source or a line-source
with fixed size radiators and, as such, exhibit a
narrowing pattern at higher frequencies and
have strongboth destructive and construc-
tiveinteractions with room boundaries.
DMLs, however, are a diffuse sound source and
produce 165 degrees horizontal and vertical
coverage at all frequencies within a range of
approximately 90 Hz 7k Hz. They are highly
resistant to disruptive room interactions, es-
pecially within the human vocal range. Hence,
they are highly intelligible, even in less than
optimal acoustic spaces.
In addition to the main arrays, Schwartz
added, there are two front member fill speak-
ers, attached to the opposite side of the IRC/
Daktronics display frames, that extend up to the
wall end at the window alcove. Each of these
incorporates a single Amina DML panel and a
Stage Accompany compact ribbon driver on a
truncated Tectonic waveguide cut to size. There
are four standard custom-finished Tectonic PL-
11 loudspeakers mounted in the window al-
coves under the balcony on the side walls that
serve as member side fills. These are positioned
on custom pan/tilt mountings just below the
balcony railing. All speakers are bi-amplified,
and are driven by 18 individual QSC power
amps located throughout the facility, including
CX1100 two-channel, CX168 eight-channel,
and CX254 four-channel models.
When queried about his reason for select-
ing the Tectonic Audio Labs DML loudspeak-
ers, Schwartz offered the following, When
using dynamic mics, we are able to achieve
considerably higher gain before feedback with
the DML panels as opposed to conventional
loudspeaker designs. This, combined with the
advanced DSP techniques we utilized, meant
we could implement a far louder, far clearer,
and far more intelligible system by using the
Tectonic DMLs.
On the rear wall at either side of the main
entry doors, Schwartz and his team deployed
custom rear wall arrayseach consisting of a
Tectonic DML panel and a Stage Accompany
compact ribbon driver and Stage Accompany
waveguide. These are mounted on a custom
fabricated pan/tilt aiming device located be-
hind a custom polished brass screen. They are
mounted in an alcove with two Sony 4K Laser
projectors, which provide the image for the
front drop down screens.
Low frequency support is via four QSC
KW181 single-18 subwoofers two per side
and custom finished to match the window
alcove paint color. These are mounted in the
window alcoves at the balcony level, directly
above the main left and right arrays mount-
ed on the LED display frames. A pair of cus-
tom-finished Meyer Sound MSL-4 powered
High-Q loudspeakers also reside in window
alcoves at the balcony level for Gallery sound
reinforcement.
Completing the loudspeaker assortment,
there are two custom mahogany coaxial
wedge loudspeakers (custom manufactured
by Deliberative Designs) at the rostrum. These
are used for spot monitoring by the Clerk of
The House.
Microphones Everywhere
On the input side of the equation, micro-
phones are seemingly everywhere. There
are two extended gooseneck hypercardioid
Countryman dual element podium mics. One
is located at the Speaker of the Houses podi-
um on the rostrum and another is used for the
members Well Microphone podium, which is
located on the chamber floor near the center
front of the rostrum. The reading clerks posi-
tion located to the right of the Speaker of
the House at the rostrum is outfitted with
The rooms scoreboards can be used to displays voting results and are flanked by the main P.A. speakers.
a custom Countryman headset microphone
paired with a dual Lectrosonics Digital Hybrid
Wireless system. There is also a handheld con-
denser Lectrosonics wireless transmitter for
use during special events, by mobile guest
speakers, or to field questions from the gallery
or floor of the chamber. These are switched on
and off locally via an LED illuminated switch or
via Crestron control.
There are 123 member desk microphones
located throughout the floor of the Cham-
ber. These are custom dynamic microphones
utilizing Shure SM-62 omnidirectional broad-
cast mics fitted with Beta 57 secondary wind-
screens. According to Schwartz, They were
chosen for their lack of proximity effect, in-
ternal rubber isolation for low handling noise,
and omnidirectional pickup pattern. These
mics are switched on and off by the Crestron
and the Q-SYS systems, either from a large
touchscreen controller at the reading clerks
rostrum desk position, or from any computer
or tablet connected to the system. For an au-
thorized user, remote control is also available
via the Internet or campus-wide intranet.
Of particular note, Schwartz Deliberative
Designs Consulting designed and manufac-
tured custom dual spring-loaded, endless
loop mechanical cord reelers for use with the
member desk mics. These reelers can extend
Members are located throughout the large
chamber floor area, but if someone is seated
behind and to the right of a member, the
sound appears from the direction of where that
particular representative is sitting, which gives
an aural cue as to their location.
upwards of eight feet. Whenever a representa-
tive picks up a microphone and pulls the mic
toward them, the system locks the cable to the
desired length when the person stops extend-
ing the mic. Upon completion, the cable then
retracts with a single tug on the cord and re-
turns into its housing.
Signals for these desk microphones are run
approximately 200 feet through high quality
individual mic cables to an equipment room
on another floor of the statehouse. This is
where the main Q-SYS Core processors, input
I/O Frames, and standard networked switches
are also located.
The system needed to be able to accom-
modate both normal legislative work, plus any
special events that may be required. There are
26 special event microphone inputs, used for
joint sessions between the House and the Sen-
ate, model student legislatures, and many oth-
er functions (such as panel discussions below
the rostrum, and/or musical performances by
choirs, guest artists, or chamber ensembles).
These microphones can be selected via the
Q-SYS GUI for hands-off automixing or mixed
by a house technician on an iPad or comput-
er. These are switched on and off locally via an
LED illuminated switch or via Crestron control.
Inputs, Outputs and Control
Each microphone signal is configured with
a Y-splitter and terminated to the same input
channel on two separate 16-channel QSC
Q-SYS I/O frames, each fitted with four 4-chan-
nel studio grade microphone preamps. Due
to the high input impedance, its possible to
bridge the microphones to two input frames,
only one of which is active at any given time.
On all outputs used in the system, the out-
puts of two I/O frames are connected directly
together, along with the feed wire. This is pos-
sible since the I/O frame outputs are relay con-
trolled and only one of the pair of I/O frames
outputs are active at any given timeall un-
der Q-SYS control.
The first I/O frame acts as the primary unit,
with the second I/O frame functioning as a re-
dundant backup. If a fault or data packet loss
is detected by the Q-SYS system, it will auto-
matically switch to the backup frame without
signal interruption. In the event of a non-data
equipment failure, the unit can be switched
manually to the backup from the User Inter-
face GUI on any remote or local computer
connected to the network. The system then
automatically sends an email to the techs de-
scribing the failure mode, the piece of equip-
ment that failed, its location, and date / time
of the failure, thus providing continuous oper-
ation of the sound system while also allowing
repair at a convenient time without interrupt-
ing the proceedings in the Chamber.
There is a total of 36 16-channel Q-SYS I/O
frames used in the system for inputs and out-
puts (both analog in/out and QSC DataPort
channels), in six discreet physical locations
around the Statehouse and Chamber. Signals
can be sourced from, or synced onto the audio
network from each location. Each of the six lo-
cations uses a pair of standard network switch-
es, and all are connected with a pair of single
mode fiber optic cable strands back to the
switches. The output of each Q-SYS I/O frame
is a Gigabit Ethernet network (Q-LAN). There
are two separate redundant local area net-
work (LAN) connections from each frame: LAN
Consultant Michael Schwartz
A and LAN B. Each are routed via two dedicat-
ed audio VLANs to a different large Core data
switch (two stacked switches) with 96-Gigabit
Ethernet ports plus eight single mode optical
fiber ports for each LAN.
These Core Switches are routed to the two
QSC Q-SYS Core 4000 processor via LAN A and
LAN B. An external control VLAN network port
is also provided to a local Dell control com-
puter, which is used to control the cores from
the Crestron system and connected control
computers, and to run the Q-SYS Designer
Software. Each of the Core DSP processors
is capable of up to 1,024 networked audio
channels In and/or Out. Identical configura-
tion software runs concurrently on each of the
cores, thus enabling immediate changeover in
the event of a failure. The networking scheme,
named Q-LAN, conforms to the new AES-67
interoperability standard, ensuring future
compatibility. All the data switches used are
Brocade Networks models and are compatible
with Q-LAN.
One of the key attributes of this system,
other than standard Ethernet networked au-
dio and AV connections, is the fact that, with
the exceptions of the microphones and reel-
ers, the entire active electronic signal chain
is fully redundant, Schwartz explained. This
means that for every device from input to
speaker outputs, there are two devices avail-
able to perform the intended function. This
extends even to amplifiers and loudspeakers.
To the House and its members, the net impact
is that the system never appears to go down,
even if a component fails, it always works
Bringing it All Together
With this system, each desk and special
input has an extensive series of controls for
filtering, equalization, automatic gain control,
compressor/limiters, and gain sharing auto-
mixer/matrix feeds, Schwartz explained. The
previous systems active feedback reduction
system has been maintained, which allows in-
creased system gain before feedback on each
microphone. When combined with the inher-
ent advantage of the DML loudspeaker design,
an incredible amount of gain can be achieved
before the feedback threshold is reached. All
outputs also have extensive drive processing,
including multi-band dynamics, equalization
and notch filtering, protection limiting, meter-
ing, etc.
The Q-SYS platform also provides full Core
processing, I/O frame, amplifier, and loud-
speaker remote control and status monitoring,
as well as the capability for an advanced signal
localization technique, he continued. Mem-
bers are located throughout the large Cham-
ber floor area, but if someone is seated behind
and to the right of a member, the sound ap-
pears from the direction of where that partic-
One of the facilitys QSC Q-SYS and amplifier racks
ular representative is sitting, which gives an
aural cue as to their location.
From there, the signal is reinforced through-
out the room for maximum intelligibility. The
various loudspeakers are positioned through-
out the chamber in support of this aural po-
sitioning, as well as for stereo imaging when
being used with multimedia playback sources.
With media playback, a sense of stereo field is
maintained, regardless of the listeners posi-
tion. The system also automatically tracks the
ambient noise level in the room, correcting for
current ambient noise levels automatically.
In closing, Schwartz offered these final
comments, This has been a massive project,
and lets not forget that video, related multi-
media support, voting system, fiber optic data
networks, streaming, mass communications/
emergency notification systems, alarms, sig-
naling bells, live broadcasting, extensive press
feed outputs throughout the facility, systems
for the hearing impaired, plus campus-wide
signal distribution are also an integral part of
this project. There were numerous people in-
volved and I want to say thank you to everyone
for their expertise and dedication to making it
all come together. Its been an honor working
with you all.
For more information, visit qsc.com.
fohonline.com MAY 2017 45
FOHINTERVIEW
The Parnelli Awards Move to NAMM
Strategic Alliance to Benefit All Sides of Music and Live Entertainment
By Kevin M.Mitchell
A
s announced last month, NAMM is expanding their
January Anaheim trade show to further include
the live event production industry, and a big part
of that strategy is bringing the Parnelli Awards to it. One
factor making this possible is Anaheim Convention Centers
200,000 square foot expansion, which will allow pro audio,
lighting, staging, video, and all related manufacturers to
have space available to them to exhibit at an international
trade show that already pulls in over 100,000 professional
registrants.
I sat down with FOH Publisher and Parnelli Executive
Producer Terry Lowe and NAMM CEO Joe Lamond to dis-
cuss what it means for live event production, and what
the future of this alliance holds.
NAMM CEO Joe Lamond and Parnelli Executive Producer Terry Lowe
FOH Magazine: Joe, lets start with you. Why?
Joe Lamond: I think that the convergence of music
and live entertainment has been coming for a long time.
Neil Portnow, President and CEO of NARAS [National
Academy of Recording Arts and Sciences] once shared
a theory with me about how each of us working in the
business today all had one thing in common: we could
trace our career paths back to the passion and excite-
ment we had for music as kids. As we grew, we recog-
nized that we were all wired differently with different
skills and eventually found our particular area of interest
and for some of us, our way back to music. But the com-
mon denominator was and always has been - music,
and that is what the NAMM Show is all about, the cross-
roads of our global musical ecosystem.
Terry Lowe: This partnership is the convergence of
production and performance. Now more than ever it will
be under one roof, as it should be. The Parnelli Awards
joining with NAMM to make that convergence happen
means providing the opportunity for all the people in-
volved in all aspects of
performance to be to-
gether.
NAMM is well-known for their ability to understand what is needed in
seminars and workshops, and we look forward to contributing to that for
the live event production attendees. Terry Lowe
46 MAY 2017 fohonline.com
JL: Terry, you nailed it. The most important thing
is the recognition that the vital role of each part con-
tributes to the whole. I can tell you that the music and
sound products industry that NAMM represents has a
tremendous respect for the production community, so
to me this is a natural evolution and extension of the
many professionals already at the show.
So how did the specifics of this partnership evolve?
TL: We flirted with the idea of bringing the Parnelli
Awards to NAMM six years ago, but the timing was not
quite right for one there was a lack of trade show
space. Also in those years, the Parnellis have grown ex-
ponentially, and we outgrew our situation [running in
parallel with LDI]. Now is the time to bring the Parnelli
Awards, our sponsors, and manufacturers in our indus-
try to be part of NAMM.
MM.
JL: Weve worked with the Timeless folks for many
years now on various projects. To me this is just a nat-
ural next extension of a strong and trusted relationship.
Why now?
JL: So much has changed in just the last few years.
The entertainment experience is diverse, technolo-
gy-driven, and crosses all lines shatters them, really.
From musical performances in the classroom and school
auditorium, to houses of worship to the largest tours
and festivals, the worlds have converged. Audiences are
expecting a lot these days and our respective commu-
nities are eager to deliver with innovative products and
production services, and can learn from each other.
The sum is greater than its parts?
JL: Exactly.
TL: And that crosses into the MI side of things. Over
the weekend, I went to the Family Music Center [in Las
Vegas], and they had a performance center. This was a
110-seat black box with top-of-the-line audio and light-
ing.
JL: ... and thats the expectation now, starting with
the first time your Kindergartener has a recital. The days
of a single mic, speakers on a stick and a lonely parcan
are gone!
Following the trends, I do see MI stores who are suc-
cessful creating those performance spaces and/or get-
ting into installs for local churches, theaters, schools.
JL: Skips Music [in Sacramento] does more live sound
and installs than they ever have before, to give just one
example. So yes, our members are finding that provid-
ing their community with those skillsets which feature
the latest pro equipment are adding value to their tradi-
tional MI offerings.
TL: And on the flip side, there are a lot of pro touring
people who are getting off the road, or taking a break off
the road, and bringing their formidable live event skills
to that market. There really is a remarkable cross-polli-
nation happening.
Robbie Robertson joins NAMM CEO Joe Lamond on the stage at NAMM 2017.
Terry, what are the key benefits of pro event profes-
sionals now considering coming to NAMM?
TL: NAMM has always brought top artists to their
show all the endorsers come. Now theres an oppor-
tunity for our production managers, lighting designers,
scenic designers [etc.] to be part of that. There is an in-
creased opportunity to meet those who decide who to
hire for the next tour that is a unique opportunity not
found at any other trade show.
Also Ill add that at one time all these people who are
doing A/V rentals used to or even started as a backline
supplier to local and regional events. Thats a trend we
see coming back, so having those companies come and
see whats available in the latest Marshall Stack or Am-
peg bass cabinet will open more business opportunities.
Joe, NAMM has a long-storied history what do you
want live event production professionals to know
about it?
JL: Most [technological] breakthroughs do not happen
from within an industry, but on the peripheral. Early in
NAMM show history, many of Thomas Edisons inventions
debuted here, for example, including the phonograph.
The common denominator was and always has been
music, and that is what the NAMM Show is all about, the
crossroads of our global musical ecosystem. Joe Lamond

NAMM more than ever is creating this broader eco- 20 educational ideas and together we will be fine-tuning as have our key people. Timeless people who work on the
system for conversation, exchange of ideas, and the hap- those with the NAMM team. These will be a real incentive Parnellis have been our guests at our TEC Awards, and con-
penstance of unexpected discovery. A music theater per- for production personnel to come, and manufacturers who versations about making those shows better have gone
son might have a conversation with the manufacturer of want to be there when they do. both ways. We have a section on our Oral History site just
a moving light that leads to a whole new line of lights. A for Parnelli honorees that includes many Parnelli Lifetime
production manager might strike up a casual conversation What are the other advantages to a trade show that in- people like George Travis [Bruce Springsteen] and Jim Born-
at NAMM and find a new way of doing something that in- cludes live event production to be part of NAMM? horst [father of the moving light] .
creases their competitive advantage in the marketplace. JL: One thing your readers might not know is that NAMM TL: and even a few key Parnelli Honorees weve lost in
Tribal gatherings seemed to be programmed into us as is a non-profit trade organization, and revenue generat- recent years including Bob See, Mo Morrison, and my friend
humans, and they have always been part of NAMM. The ed by our trade events is reinvested back into promoting and Parnelli Awards co-founder, Patrick Stansfield.
Parnelli Awards will attract that specific tribe to their Friday music and music education here in the U.S. and around the JL: We at NAMM have great respect for the profession-
night gala, and thats great. But I suspect that during their world. The NAMM Show is the beginning of what we call als reading PLSN, FOH, and Stage Directions, for the Parnelli
time at NAMM those folks might also have the opportunity our Circle of Benefits business cycle to achieve our vision Awards, and the hard working folks who make their living
to interact with the broader in the live event industry. We
industry and come away bet- want to share your stories,
ter prepared for success in and make sure everyone un-
the year ahead. derstands your vital role.
We all want to create mu-
But what of the challeng- sic makers, make sure there
es? That this is just an MI is a strong music education
show? that benefits all of us, and
TL: Well its not, and this that avenues for getting
is where growth is going to into the live event produc-
happen. Were both commit- tion side are accessible. This
ted to it. But yes, changing is a brotherhood of kindred
perceptions is a difficult en- spirits. Were cousins! Well,
deavor, which is why I am maybe second cousins once
throwing all our media prop- removed [both laugh]
erties and our ability to com- but we all care about music,
municate across print and the getting back to that initial
digital spectrum to let our passion.
industry know that NAMM
is the place to be. I would Are you confident you can
not have moved the Parnelli make the first year of this
Awards there if I thought oth- convergence a success?
erwise. JL: Look, Im a drummer.
JL: As I mentioned, the So, I believe theres a rhythm
world is changing so quick- to everything, and theres a
ly. Few things in our lives are rhythm to this too.
the same as they were even In any good drum solo
five years ago, including the and Terry is a drummer too,
NAMM Show. I believe the so he knows you start with
production community will The next Parnelli Awards ceremony will take place Jan. 26, 2018 at the Anaheim Hilton during NAMM 2018. a big splash! Then you go to
be pleasantly surprised and the cowbell then you set-
ultimately glad that they made the decision to attend. of a world where every child has a deep desire to make mu- tle into a steady straight beat by November, December,
sic and a recognized right to be taught. On a more practical well pick up that beat. Add fills, get to the aggedda, agged-
What are some of the other advantages of this? level, January is the best time to introduce new products da part on the tom toms with sticks flying everywhere,
TL: Both Timeless and the Parnellis are committed to ed- into the marketplace, and depending on where you call build awareness, build enthusiasm, then theres the big fin-
ucation. home (I grew up in Buffalo NY!), Southern California in not a ish. Well crush it.
A little history: The Parnellis were at one point part of bad place to be for a few days in late January.
a Pro Production Show in Long Beach which we held in TL: More specifically, this is the best time and place for Where will we be in five years?
January for a few years. During that show, we put on a lot live event production people. Tours are often still going JL: Bigger isnt better. Better is better. If the NAMM show
of workshops, panel discussions, and seminars. When we on in October and November, and January tends to be the gets bigger, Im happy, but thats not what is motivating us.
moved the show to be at the same time as LDI, we set up a least active for our people. This is the time to get together, Lets provide a better gathering for all of us: better educa-
scholarship fund with the University of Nevada-Las Vegas. see new gear, and hang out with peers you rarely get to see. tion, better networking, and better products. This is about
NAMM is well-known for their ability to understand what serving the industry.
is needed in seminars and workshops and we look forward This does feel like a partnership whose time has come
to contributing to that for the live event production at- JL: The truth is, weve already been working together for For more information, visit parnelliawards.com and namm.
tendees. With our editors, Ive already put together almost quite a while now. Ive been going to the Parnelli for years, org.

fohonline.com MAY 2017 47

BUYERSGUIDE
ART XDirect BBE Magnum D.I.

Active Direct
Boxes: Bring
on the Basics
By GeorgePetersen

T
here are few more basic or more useful ac-
cessories than a direct box. These can range from
simple transformer-in-a-case units to elaborate Inputs: XLR, 1/4 Inputs: 1/4
rack mount multichannel designs. Lets sidestep the ac- Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru
tive-versus-transformer debate for now. Both have their Filters: High-pass filter, phase insert Filters: No
place; in fact, I have a half-dozen of each in my shop. Pad: -20 dB Pad: -20 dB
So lets examine some straightforward active direct Polarity Reverse: Yes Polarity Reverse: No
boxes. All of those spotlighted here are single-channel, Ground Lift: Yes Ground Lift: Yes
compact units that are powered via a phantom power Powering: 9 VDC or phantom Powering: Phantom only
and/or a standard 9-volt battery. Sorry, no tube models Stereo Version: Dual XDirect Stereo Version: No
or units with preamps or onboard guitar/bass EQ, and Street Price: $40 Street Price: $68
nothing requiring AC powering.
artproaudio.com bbesound.com

BSS AR133 Countryman Type 10 dbx dB12

Inputs: 1/4 Inputs: 1/4 Inputs: 1/4

Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru
Filters: No Filters: No Filters: 6k Hz high cut
Pads: -20/-40 dB Pads: -15/-30 dB Pads: -20/-40 dB
Polarity Reverse: No Polarity Reverse: No Polarity Reverse: Yes
Ground Lift: Yes Ground Lift: Yes Ground Lift: Yes
Powering: 9 VDC or phantom Powering: 9 VDC or phantom Powering: Phantom only
Stereo Version: No Stereo Version: Type 10S Stereo Version: No
Street Price: $139 Street Price: $199 Street Price: $99
bssaudio.com countryman.com dbxpro.com

Klark Teknik DN100 Pro Co DBA-1 Radial J48

Inputs: XLR, 1/4 Inputs: XLR, 1/4 Inputs: 1/4

Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru
Filters: No Filters: No Filters: High Pass
Pads: -30 dB Pads: -20/-40 Pads: -15 dB
Polarity Reverse: No Polarity Reverse: Polarity Reverse: Yes
Ground Lift: Yes Ground Lift: Yes Ground Lift: Yes
Powering: Phantom only Powering: Phantom only Powering: Phantom only
Stereo Version: DN200 Stereo Version: No Stereo Version: J48 Stereo
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music-group.com procosound.com radialeng.com

48 MAY 2017 fohonline.com

 Rolls ADB2 Phantom Rupert Neve Designs RND1 Samson MDA1

Inputs: 1/4 Inputs: 1/4 Inputs: 1/4

Outputs: XLR, 1/4 Thru
Filters: No
Pads: -20/-40 dB
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Ground Lift: Yes
Powering: Phantom only
Stereo Version: No
Street Price: $39
Outputs: XLR, 1/4 Thru Outputs: XLR, 1/4 Thru
Filters: No Filters: No
Pads: Inst./speaker inputs Pads: -15 dB
Polarity Reverse: No Polarity Reverse: No
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Powering: Phantom only Powering: 9 VDC or phantom
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rolls.com rupertneve.com samsontech.com

Switchcraft SC800A Telefunken TDA-1 Whirlwind HotBox

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Filters: No
Pads: -15 dB
Polarity Reverse: No
Ground Lift: Yes
Powering: Phantom only
Stereo Version: No
Street Price: $110
Outputs: XLR, 1/4 Thru
Filters: No
Pads: -15 dB
Polarity Reverse: No
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Outputs: XLR, 1/4 Thru
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switchcraft.com telefunken-elektroakustik.com whirlwindusa.com

Search online for

complete listings at

Anyone involved in live event production will use the EPD.

fohonline.com MAY 2017 49

THEATERSOUND
ELEVATING
ELEVATING the pit
ELEVATING
Sound designer Mick Potters
Sunset Boulevard design
By BryanReesman
O
nstage, no one inhabits Andrew
Lloyd Webbers Sunset Boulevard
role of tragic movie icon Norma
Desmond quite like Glenn Close, and the
acclaimed actor has returned to the char-
acter that earned her a Tony Award back
in 1995.
While the current Broadway revival
(which runs at the Palace Theatre until June
25) has a set worthy of Desmonds deluded
sense of grandeur about her lost career, it
can be both epic and intimate. This concept
was echoed by Mick Potters sound design,
which is an integral part of the storytelling.
In fact, the staging of the show dictated
much of how the miking works.
Potter is hardly a newcomer to theat-
rical sound design. Besides Sunset Bou-
levard, his credits include Les Miserables,
The Phantom Of The Opera, Evita, Cats, Miss
Saigon and School of Rock among many
other notable productions.
A Classic Tale
What a tale it is. Inspired by the Os-
car-winning movie of the same name from
1950, Sunset Boulevard finds struggling
screenwriter Joe Gillis unwittingly teaming
up with faded Hollywood star Norma Des-
mond after seeking refuge from repo men
on her property. She wants him to help
her polish her screenplay for the story of
Salome, a role for which she is too old but
for which she hopes to stage a comeback.
While he thinks she is daffy, he smells op-
portunity and thus plays along, although
he does not realize the dark abyss he is
stepping into.
The set for the previous incarnation of
the show was dazzling and ostentatious,
In Sunset Boulevard, Glenn Close plays the great Norma Desmond.
and while this one is also grand, James
Noones skeletal design has a black me-
50 MAY 2017 fohonline.com
PHOTOS BY JOAN MARCUS
Michael Xavier with the company of Sunset Boulevard.
tallic look
that can be
imposing
but also re-
cede into the
background
when the
lights fo-
cus on the
key players.
The stage is
Sound Designer Mick Potter
dominated
by two impressive stairways that descend
from about three-stories up and crisscross
without connecting. Each features a land-
ing eight to nine feet high before the final
run of stairs descends to stage level. The
28-foot tall staircase going from stage left
to right belongs to Norma. At 30 feet in
height, the opposite one is used for other
cast members.
Bringing the Orchestra Out of the Pit
This setup relates specifically to Pot-
ters sound design, because something
that makes this production very distinct is
the fact that there is a 40-piece orchestra
onstage, and they are located between
the staircases, upstage center. Beyond the
fact that the orchestra has twice as many
players as could reasonably fit into the pit,
Noone feels that the symphonic music is
an integral part of the story.
Often, it sounds like its for a movie,
explains Noone. Its very big and very lush
and powerful, so we didnt really want to
hide that. We wanted to make that part
of the storytelling because movies are all
about music. You always hear those amaz-
ing scores, and [composer] Andrew [Lloyd
Webber] has written some really, really
beautiful music; like the car chase, which
 Miking The Pit Sunset Boulevard on Michael Xavier plays Joe Gillis
To capture the audio coming from the onstage orchestra,
Potter used the following microphones. None are radio
Broadway: Design Credits
Composer: Andrew Lloyd Webber
mics; are all wired.
Book & Lyrics: Don Black, Christopher Hampton
18 DPA 4061 miniature mics attached to instruments for
all strings Director: Lonny Price
2 DPA 4061 miniature mics attached to the harp Associate Director: Matt Cowart
2 DPA 4099 clip mics on the basses Music Director/Conductor: Kristen Blodgette
16 DPA 4022 compact cardioid mics on brass and Choreographer: Stephen Mear
woodwind Scenic Designer: James Noone
16 DPA 4022 compact cardioid mics on percussion and Sound Designer: Mick Potter
drums Lighting Designer: Mark Henderson
3 DPA 4007 omni mics on timpani Costume Designer: Tracy Christensen
5 Shure Beta 98 D/S mics on toms and conga Glenn Close Costume Designs: Anthony Powell
1 AKG D112 MkII dynamic mic inside kick drum
Wig, Hair & Makeup Design: Dave Bova, J. Jared Janas
1 AKG D12 VRdynamic mic outside kick drum
Fight Direction: Rick Sordelet, Christian Kelly-Sordelet

is really symphonic and really powerful. It just wouldnt be
the same if they were in the pit. Theres something excit-
ing about seeing the orchestra playing all that.
Given the tight quarters of the musicians onstage, as
well as being framed within Noones snaking set, audio
bleed-through was certainly a factor that had to be dealt
with.
It was very challenging to mic the musicians in such
an enclosed space, says Potter. They were all in very close
proximity to each other and so the spill down other micro-
phones from other instruments was a challenge along with
the sound on stage from the cast monitoring foldback.
Potter adds that every instrument had its own individ-
ual microphone as close as possible to the instruments
sweet spot. This meant using a total of over 80 miniature
or compact DPA microphones including the percussion
and drum setups, and using programmable mutes at the
sound console to control the bleed-through as much as
possible, explains Potter. It also meant the musicians
had to be very disciplined in playing the correct dynam-
ics internally, as with more acoustic sound coming from
the stage than would from an orchestra pit, it was harder
for the sound balance alone to finesse this, particularly
during dialogue scenes.
Potter acknowledges that the DPA 4066 is not a micro-
phone you would normally associate with a musical like
Sunset Boulevard. But, he notes, there was so much lev-
el on stage from the acoustic orchestra when we first re-
hearsed the production in London that it quickly became
clear that to get enough vocal clarity and detail both in
the house and on stage that we would be best using the
headset microphones. This, he says, puts the microphone
capsule much nearer the actors mouth, allowing us to get
rid of much of the ambient orchestra sound picked up by
the microphones. Since the musical is really partly a semi-
staged concert, everyone was happy with this. ing that number alone work was quite an achievement by
everyone.
Plenty of Inputs/Outputs When asked if he learned anything new working on
The show is being mixed on a DiGiCo SD7T console, Sunset Boulevard, Potter replies, It was a great reminder
using all 256 processing channels, with more than 128 in- of how exciting it is when music and sound really work
puts and 80 outputs being used. together with Andrew Lloyd Webber really involved in
According to Potter, the most challenging sequence the process and understanding how much impact the or-
to mic and mix was the big opening number, Lets Have chestra on stage had on the show acoustically, and how
Lunch. He reports that it involves lots of intricate dialog best to utilize that to achieve the best results.
scenes woven around big band orchestrations and dance
breaks. With an orchestra on stage this really required the Bryan Reesman, a freelance writer based in New York, is a
cast, orchestra, and sound to be absolutely meticulous regular contributor to FRONT of HOUSE affiliated publica-
with timing and dynamics for it to work.I would say mak- tions,PLSNandStage Directionsmagazines.

The Orchestral Challenge It was about letting the orchestra dynamics

Miking an orchestra in the pit can sometimes be a chal-
lenge depending upon the number of players and their dictate the vocal levels in the big numbers and
nearness to each other, and being onstage for a complex
show like this Sunset Boulevard certainly requires a metic- letting the vocal dynamics dictate the orchestra
ulous sonic balancing act.
Certainly for those big musical numbers and orches- levels in the dialogue.
tral moments, its fantastic to have an orchestra on stage,
says Potter. But when it comes to the storytelling, the Mick Potter
recitative and the dialogue over music, its more of a chal-
lenge having the orchestra on stage as this wasnt how
the show was originally conceived. You still have to let the
orchestrations be heard whilst also making sure the dia-
logue is clearly intelligible. This is obviously easier when
an orchestra is contained in an orchestra pit.
Ultimately, from a sound balancing perspective, he
says, it was about letting the orchestra dynamics dictate
the vocal levels in the big numbers and letting the vocal
dynamics dictate the orchestra levels in the dialogue and
recitative.
Potter reports that the well-stocked orchestra for this
show consists of six first violins, five second violins, four
violas, three cellos, one bass, two flutes, an oboe/cor an-
glais player, two clarinet/sax players, two horns, three
trumpets, two trombones, a harp, one percussionist, one
drummer, guitarist, bass guitarist, and two keyboardists.
The microphones used on the musicians were all minia-
ture or compact DPA microphones due to space issues,
says Potter. The only exceptions were some Shure Beta 98s
on drums/percussion and two AKGs used on kick drum.

Vocal Miking
The cast members who number close to two doz-
en in total all wear Sennheiser SK5212 and EM3732
transmitters and receivers. The ensemble wears DPA 4061
headworn microphones. However, the principals all wear
DPA 4066 headset microphones, which have longer stems
and are much more visible to an audience than similar Glenn Close and Michael Xavier in Sunset Boulevard.
styles.

fohonline.com MAY 2017 51

 ROADTEST

At a Yamaha TF Rack Digital Console

By VinceLepore
Glance

T
wo years ago, I reviewed the then-new
Yamaha TF3 (FRONT of HOUSE, June

Compact and Affordable 2015). I enjoyed the console and I saw

Yamaha had a winner on its hands, but there
Digital Mixing was still some work to be done on the firm-
Yamaha solidifies its current generation ware.
of consoles as the de facto standard for Fast-forward almost two years, and much
rental houses, churches and many large- has advanced with the TF consoles and with
scale productions. Yamaha digital consoles in general. The past
two years have seen the introduction of the
PM10 Rivage as well as major firmware up-
Yamaha TF Rack dates to the TF, QL and CL series. Not surpris-
PROS ingly, Yamaha has again solidified its current
Top-notch audio quality generation of consoles as the de facto stan-
34-channel recording and dard for rental houses, churches and many
playback with Nuendo Live large-scale productions. The TF series has
(included) via USB 2.0
come a long way from the Version 1.0 days The Yamaha TF Rack, shown here atop the optional TIO1608 stagebox.
Excellent remote control apps (TF
Editor for Mac/PC; TF StageMix for when I first demoed the mixers, with six major
iPad; TF Monitor Mix for iOS and firmware upgrades for the console since May
Android) of 2015. That should comfort both current Ya-
CONS maha owners and prospective buyers. Yamaha
Some processing limitations with continues making incremental improvements
FX and Graphic EQs to its consoles, and that commitment attracts
Rack mount form factor doesnt and retains loyal customers.
work in all applications
Outputs 9 to 16 are TRS
Enter the TF Rack
STATS The original TF lineup included three mod-
40 input els. The TF5, TF3 and TF1 were all traditional TF Rack rear panel, fitted with optional NY64-D Dante card.
processing digital consoles in the sense that they had fad-
Inputs channels max; 16 ers and touch screen. The TF Rack is an entirely than from a wired or wireless control comput- wards novice engineers and might be miscon-
onboard D-Pre
mic preamps new form factor for the TF line, housed in a fad- er there are a limited set of controls such strued as being dumbed-down, but in fact, the
erless, 3-rackspace chassis with only a limited as a touch and turn knob, four user-defined console offers full control of things like EQ and
Aux Buses 20 set of knobs and buttons on the front panel. knobs, six user defined buttons, four bank but- FX for the more seasoned digital console user.
Most the I/O is on the back of the rack unit, tons that select which fader bank is displayed For users who arent savvy with digital con-
Sampling
48k Hz although additional remote I/O can be add- on screen, an input mute and an FX mute. Of soles, Yamaha includes a host of input channel
Rate
ed via an optional Dante card. In the past few course, most users would work from an iPad presets for common mics from manufacturers
Three rack space
Dimensions years, the rack-mount digital console format using Yamahas TF StageMix app, but there are such as Shure, Sennheiser and Audio-Techni-
footprint
has taken off, with many manufacturers of- enough controls on the front panel so the mix- ca, as well as output EQ presets for speakers
TF Rack, $1,799;
NY64-D Dante fering surface-less versions of their mixers. er is completely operable without an external and even in-ear monitors from Ultimate Ears. I
Street Price Card, $399; What makes the TF Rack immediately identi- computer or tablet. found the microphone EQ presets remarkably
TIO1608 stagebox, fiable is a built-in multi-touch screen on the similar to those Ive created myself, and they
$999
front of the unit. To be sure, several other I/O Galore would no doubt provide a start for someone
Manufacturer Yamaha manufacturers have screens on the front of The back of the TF Rack hosts a generous who needs to build a great mix quickly. In ad-
More Info yamahaca.com their rackmount digital mixers, but the ones amount of I/O for a mixer of this size. The frame dition to all of the input channel presets, there
Ive seen have been simple displays and not has 16 mic/line inputs plus a stereo input on is the typical complement of input channel
actual touch screens, and certainly not multi- RCA connectors, eight XLR line outputs and processing, eight FX processors, 10 graphic
touch screens. another eight line outputs on TRS. I would pre- EQs, auxes 1-8 and the stereo bus have 4-band
The TF series relies heavily on the touch fer that all 16 the line outs were XLRs, although parametric EQs as well as 31-band Flex12
screen (TF stands for Touch Flow), so I ap- for some people, the TRS might be preferable. GEQs. While there are some limitations on the
preciated having a fully functional multi-touch In addition to the audio I/O, there are also net- processing, I have a feeling that there is more
screen right on the front of the unit, rather work ports for wired or wireless control, a USB processing potential under the hood, and Ya-
than having to rely completely on an iPad. If connection for recording to (the included) Nu- maha will continue to unlock more features in
Now at version 3.03, the TF Stagemix
remote control app is solid and mature.
you are working from the front panel rather endo Live software, and theres even a 1/4-inch the future.
TS connection for a footswitch.
If you need more I/O, Yamaha is now ship- Latest Updates
ping its optional NY64-D Dante card and In early April, Yamaha announced version
TIO1608-D stagebox. These can be added to 3.5 for all TF consoles. This new version, avail-
the TF Rack as well as the TF1, TF3 and TF5. able in late May 2017, adds Dugan automixing
Adding remote I/O to the TF Rack requires the capabilities to all TF series consoles. This takes
Dante card, which fits into a rear-panel slot the TF to an entirely different level, and before
and adds primary and secondary Dante ports the announcement, I was skeptical that the
to the system. This connects to the Dante-en- console even had the processing power avail-
abled TIO1608-D a 16-input, 8-out stage able for such an update. Rather than leaving
box, similar to Yamahas RIO family. The TF Rack the Dugan automixing for their higher-end
has 40 input processing channels, 20 aux bus- consoles, Yamaha has incorporated it into their
es, a stereo bus and a sub bus, allowing the most affordable digital mixing product. Other
console to take full advantage of the onboard manufacturers have automixing capabilities in
I/O as well as any additional Dante I/O. similarly priced consoles, but most of them are
Dugan knock-offs that just dont perform like
The Sound the Dugan does.
The sound quality of the TF series is excel- Despite all of the great updates the TF series
lent for a console at this price point. Beyond has seen over the past two years, Im confident
just the sound of the preamps, Yamaha pro- that there are more to come. Anyone consider-
vides all sorts of excellent tools to sweeten ing a console in the price range should be tak-
your mix. Some of the tools are geared to- ing a serious look at the Yamaha TF series.

52 MAY 2017 fohonline.com


Ashly digiMix24 Live Digital Console
By GeorgePetersen
A
shly Audio has a long history building
reliable analog mixing and outboard
equipment for the professional live
sound and installation markets. While the
company carries a considerable legacy of an-
alog expertise, Ashly is no newcomer to digital
gear; its Ashly Protea DSP processors are world
renowned for delivering top-notch sound and
seamless integration with control technolo-
gies that users can easily navigate.
More than four decades later, the company
returns to the console market, this time with
an enviable track record in digital products.
Clearly, this is not Ashlys first trip to the ro-
deo and knowing the importance of its digital
mixing debut, the company spent more than
a year working with beta testers to lock in on
precisely the right combination of software,
hardware and the user interface. So when
production units began shipping earlier this
year, the complete package was in place, not
only the console itself, but also the optional
Dante card as well as the free digiMix for the
iPad. The mixer can record/play stereo to/from
a USB drive, while an optional 32-channel USB
recording/playback DAW interface card is of-
fered at $499.
Hello, digiMix24!
The first product in Ashlys new range is the
digiMix24. This versatile, compact 24-channel
digital mixing console offers professional I/O,
integrated signal processing and effects, us-
er-friendly software and intuitive mixing via
the control surface, with its 7-inch high-res
touchpad. Additionally, a free digiMix iPad
remote control integration app lets users re-
motely set stage monitor volumes, tweak
parameters or to mix from different places in
the venue. The unit has an eye-opening street
price of $1,249, with the Dante option adding
another $499.
The digiMix24 has 24 inputs including
16 Class-A mic/line inputs; up to 14 mix buses
(user-configurable); eight aux outputs, eight
channel inserts; 33 channels of dynamics and
equalization processing; and two stereo ef-
fects processors with reverb, delay, chorus
and more. Its control surface combines a sev-
en-inch LCD color touch screen and intelli-
gent metering thats switchable to show input
levels or relative fader positions. The system
management software makes it easy to save,
load, or copy mixer setups. A rear panel card
slot supports field-installable cards for either
Dante connectivity or a USB interface for easy
24-bit multi-track recording or playback.
The digiMix24 has a compact 20 x 14-
inch footprint and weighs in at just under 18
pounds. Besides the card slot, the rear panel
has 16 combo 1/4-inch-XLR line/mic inputs
with TRS insert points on the first eight in-
puts. Inputs 17 through 24 are analog stereo
line pairs fed through TRS jacks (17-20), RCA
tape inputs (21-22) and USB (23-24). Outputs
include stereo mains (on XLR and TRS jacks);
eight 1/4-inch jacks for the four aux outs and
four subgroup/aux outs; stereo RCA tape out
pair; and stereo 1/4-inch control room out-
puts. In a live situation, the control room outs
can be used to feed (via a separate level con-
trol) to a lobby, narthex or cry room or even to
drive a set of monitor speakers when mixing in
a booth or enclosed space.
Ethernet and USB control ports connecting
the digiMix24 to a network for remote iPad
control or loading any future digiMix Utili-
ty firmware updates. The ports for the USB
2-track I/O and a 1/4-inch headphone output
are conveniently located on the top surface.
And no wall warts here the internal power
supply accepts any voltage from 100 to 240
VAC and is fed from a stan-
dard IEC AC connector.
Getting in Control
The user interface
on the digiMix24 is
distinctly different
than most con-
soles. The sin-
gle-fader in-
terface does
take a little
getting used to,
but after 15 minutes or so,
youre pretty much an expert with all
console operations. The mixer is designed for
fast, easy operations, and virtually every mixer
function can be accessed via the touch screen
and/or dedicated controls. The top of the mix-
er has rotary trims for the channel inputs and
bright 12-segment LED meters.
Below each meter is a select button that
navigates that source directly to the 120mm
Alps moving fader and that channels control
interface. The long throw on the fader is a nice
touch, although there is some (but certainly
not a lot of) mechanical noise. In situations
where this might be an issue theatre, very
quiet sanctuaries, the fader speed (and result-
ing noise) can be adjusted within the system
page. However, in any case the fader action
was very accurate in reflecting any software
mix changes.
Aux, sub, FX and main levels are all indi-
vidually controlled via rotary controls. Bright
colored buttons offer access to the six DCA
groups, solo/mute/PFL/channel assigns, ef-
fects, switchable individual channel phantom
power, the 31-band graphic EQ (on the main,
sub and aux outs), and on all channels
the 6-band parametric EQs, expander/gates
and compressor limiters.
Two digital effect buses are available. Via
tweakable parameters, customized effects
can be assigned to each bus and include three
types of reverb, delay, tremolo, flanger, chorus
or combinations. User-defined effects can be
saved to 104 presets.
EZ Operations
The mixers EZ-Mode offers a simplified and
secure user control interface for a non-techni-
cal person to control the mixer with the same
ease of use as if they were operating lighting
dimmers.
One useful touch is that there are two EZ-
Mode mixers types available. EZ-Mode Mixer
#1 includes faders for DCA groups 1-4, aux
outputs 1-4, and stereo main output level
with mutes for each fader. The slightly more
advanced EZ-Mode Mixer #2 includes faders
for DCA groups 1-6, USB stereo input, tape/CD
input, aux outputs 1-8, and stereo main output
level, and fader mutes.
All signal routing, levels, EQ, FX, DCA groups
and aux sends must be configured ahead of
time in the main mixer before using EZ-Mode,
but once there, operation by novice users be-
comes very straightforward.
Within the system control page, an admin
user can also set a password, and prevent un-
authorized access to any features in either full
system or EZ-Mode, with only the input trims
and AC power functions not subject to lock-
out.
Going Remote
Probably one of my favorite console fea-
tures is the digiMix app, an iPad controller
that offers remote access to nearly all console
parameters. The app is simple to use, fast and
is extremely well thought out and provides
ROADTEST
At a
Glance
Big Performance/
Low Price
Ashly enters the digital console market
with serious, solid performer at a re-
markably low cost.
Ashly digiMix24
PROS
Rock solid build quality
Dante and USB expansion options
remote interfacing whether in standard or EZ- Affordable pricing
Mode. The only downside here is that digiMix
CONS
can currently only be controlled by a single Only 16 mic preamps
iPad, so you cant set up multiple iPads for Controlled by single iPad (for now)
monitor mix access by several band members,
for example. STATS
Inputs 24
The Sound
8 (or four aux/four
Heres where the digiMix really shines. The Aux Buses
subgroups)
preamps are a low-noise, discrete Class-A de-
6 DCA fader/mute
sign. The DSP processing is 32-bit; the EQs DCAs
groups
(graphic and parametrics) are smooth and mu-
sical and the dynamics and effects are useful, Sampling
48 kHz
with the hall/room/plate reverbs particularly Rate
good sounding, with ample control opportu- Dimensions
20.15 x 14 x 5.65
nities (predelay, decay, brightness, room size, inches (WxDxH)
diffusion and wet/dry) to please the most ar- Weight 17.65 pounds
dent tweaker. Street Price $1,249
Options and More Manufacturer Ashly
With the optional, field-installable $499 More Info ashly.com
Dante-32 module in place, the digiMix24 can
be integrated into a Dante digital audio net-
work, allowing the console to receive and
transmit audio with other Dante devices, such
as stage boxes, secondary mixers for monitor-
ing or broadcast, etc. Dante stream configura-
tions are set up via Audinates free (Windows
or Mac) software Dante Controller that uses
an external router/computer combination to
connect Dante audio receivers with transmit-
ters. Once the console is set up with the Dan-
te-source routings you prefer, the card retains
those settings in flash memory, so if your con-
figurations dont change, theres no need to
use a computer again. The Dante Controller
software is simple to use, employing a basic
onscreen matrix to assign routings.
Another field-installable card option is a
32-channel USB digital audio module for in-
terfacing the digiMix24 with other multi-track
USB audio devices. Applications include multi-
track recording or playback from a USB audio The digiMix app offers full control of mix and DSP parameters
device, or interfacing directly to a multi-track
DAW or playbacks for virtual sound checking.
As the console is well suited for either fixed
install or portable applications, an ATA travel
case is another option at $229.
The digiMix24 has a street price of $1,249.
Like all Ashly products, the digiMix24 is cov-
ered by the companys five-year warranty
(three years on the touch screen and moving
fader).
The rear panel is packed with I/O possibilities
fohonline.com MAY 2017 53
 ON THE DIGITALEDGE
By David Morgan
Off-Time Projects
S
o far, 2017 has been an interesting
year. In just the first three months, my
touring schedule has taken me to New
Zealand, Australia, Singapore, Hong Kong,
Brazil, Argentina and Chile. Weve encoun-
tered a variety of P.A. systems and used three
different console types at FOH. The Austra-
lian shows were mixed at FOH on a DiGiCo
SD5; the shows in New Zealand, Singapore,
Hong Kong and Brazil were mixed on DiGiCo
SD7s; and the shows in Argentina and Chile
mixed on Avid VENUE Profiles.
Making the Console Switch
DiGiCo provides file conversion software
for easily transferring show files between
models in the SD platform line. This software
agility enables maintaining up-to-date files
for both the SD5 and SD7 mixing platforms.
Although I migrated away from Avid to DiGi-
Co a few years ago, there have been enough
one-off shows with locally provided VENUE
Profile consoles to keep my Avid files up to
date as well.
At one point in South America, the sched-
ule presented an opportunity to closely
compare the way the show sounded when
mixed on the SD7 to the sound of the same
show with the same band mixed on the VEN-
UE Profile just two days later. It was partic-
ularly notable that I heard far more similar-
ity than difference in the overall result. But
arrival at this point of similitude occurred
only after the mixes followed vastly different
pathways. When using the DiGiCo format,
I rely heavily on the onboard capabilities
of the console. The stock mic preamps, the
AD converters, the tube emulators, the ex-
tensive dynamics section, and the versatile
equalizer section carry much of the signal
processing workload. When using the VEN-
UE platform, I relied far more exclusively on
my library of TDM plug-ins to do most of the
heavy lifting.
I have tried to keep this comparison expe-
rience fresh in my mind because it provided
the incentive for a new project. During this
time off before summer touring begins, I am
investing some time in re-examining the
sound of one particular instrument. To my
ears there was enough of a difference in the
main acoustic guitar sound that I want to do
some experimenting. In specific, I really liked
the guitars high-end sparkle I was hearing
while mixing on the VENUE. Conversely, the
low-end resonance and the lower midrange
body through the DiGiCo system were both
especially memorable. However, I wouldnt
characterize either guitar sound as clearly
superior, just discernibly different enough
to merit further investigation. Because the
artist for whom I work is an acoustic gui-
tar virtuoso, I am always searching for new
methods to better present that instrument.
The Acoustic Guitar Project
Each year, we try to make specific im-
provements to the overall audio product.
Sometimes changes are big, as they were
last year with a new touring P.A. system.
Sometimes changes are as small, such as
switching out a microphone. In every case,
its imperative that any changes result in
improvement and are initiated by a rea-
54 MAY 2017 fohonline.com
sonable expectation of achieving a specific
goal. My goal is to knit together my positive
experiences from each mixing platform and
discover a synthesis that more closely re-
sembles the electronically unencumbered
sound of an acoustic guitar.
Accurately reproducing the sound of an
acoustic guitar through a large venue au-
dio system has always been a challenge for
live sound engineers. Carefully placed, stu-
dio-quality condenser mics are the best way
to truly capture the full character of the in-
strument. But then theres that huge amount
of preamp gain needed to fill an arena plus
the existence of the multiple, and often very
loud, sound sources on the stage that make
the microphone option unusable. The strug-
gle to make acoustic guitars audible yet not
DAVID MORGAN
The authors improvised home laboratory
sound like an electric guitar is similar to the
difficulties engineers encounter while at-
tempting to make an acoustic piano played
live sound natural and not sound more
like an electric piano being played through
very small speakers. Resonant wooden box-
es just like to resonate and often do just that
at very low frequencies.
It does seem that the particular combina-
tion of transducers, electronics technology
and software that we have evolved for use in
the Yamaha C7 acoustic grand has succeed-
ed admirably in producing a realistic live pi-
ano sound from that closed lid instrument.
Our present amalgamation requires blend-
ing the two microphones included with the
Earthworks PM40 piano system, an AMT M40
microphone and a Barcus Berry 4000XL pi-
ano pickup. Each of transducers is used to
reproduce/reinforce different frequency
bands and the results have been extremely
satisfying. Having four inputs to manipu-
late in terms of time, polarity, equalization,
modification and dynamics control gives
an engineer a lot of freedom to shape the
sound without asking too much from any
one transducer.
Pickups and Post-Pickup
In the case of the acoustic guitar, one often
has only a single sound source from which
to attempt building a complex sound. That
source is most commonly an under-saddle
piezoelectric pickup mounted in the bridge
of the guitar. Over the years, there have been
many other attempts to create alternatives,
but most of these well-intentioned solutions
have instead turned the entire guitar into a
microphone that feeds back constantly. The
various sound hole magnetic pickups can be
strong and punchy but may not exhibit their
strongest articulation/definition in higher
frequencies.
And so it always seems we return to using
the saddle pickup as the most reliable sound
source. This device provides the greatest
gain before feedback without being forced
to put a plug in the sound hole. A pickup
that is well matched to the guitar should
produce an output that can be shaped into a
balanced sound. A high quality preamp with
input circuitry optimized for a piezo pickup
is the best place to start the signal chain to
the consoles. Adding a second sound source
that can be treated separately from the pre-
amp signal is always a good option. We have
had great success in blending the output of
a Radial preamp with the output of a Fish-
man Aura unit. Early on, we learned to add a
small amount of delay to the preamp output
to compensate for the latency through the
Aura system and things took off from there.
During my years on the Avid platform, I
was particularly fond of the Smack! com-
pressor. It was an important part of the
acoustic guitar sound. Smack! operates with
a very light footprint and the compressed
signal does not exhibit an easily detectable
high frequency loss. Smack! also holds the
lower midrange together beautifully and the
available operational options make it a ver-
satile tool. Since moving to the DiGiCo SD5,
my acoustic guitar compressor of choice has
been the Waves V-Comp. As one would ex-
pect from a circuit emulation derived from
Neve consoles in the 1073 era, the V-Comp
is extremely warm sounding and produces
a signal that has depth, texture and sub-
stance. We also gain substantial warmth by
engaging the tube emulation section avail-
able in the input stage of the SD5.
We have been using the SD5 onboard
4-band parametric equalizers on both Aura
and the Radial inputs. On the Aura side, the
lower mid band and the upper mid bands
have been switched into dynamic equaliza-
tion mode for greater control of frequencies
that often jump out when the guitar is hit
harder. On the Radial output, the top two
parametric bands have been switched over
to dynamic equalization, as those frequen-
cies seem to become more accentuated at
greater amplitudes. The meat of the guitars
is now so strong that I was not aware that I
had traded some away some of the previous
sparkle and shimmer until I heard the show
mixed mix through the VENUE console. Cre-
atively addressing this situation has now be-
come the subject of my homework. I dont
want to remove any of the tools that are cur-
rently being used. I am very pleased with the
direction we have taken. But I am hoping to
add subtle touches to further improve what
is already a very good presentation of the
acoustic guitar.
In the (Home) Laboratory
To that end, I am now engaged in the
process of recording my very old Taylor 815
acoustic guitar in order to make some ref-
erence tracks. The Taylor has no pickup so
it must be miked in order to be recorded. I
have initially chosen to use a combination
of a Shure KSM44 and a Neumann KM-185.
Once I am satisfied with the mic choices and
their placement, I will play a couple of my
employers songs and record to Pro Tools 12
using my new Apogee Element 24 Thunder-
bolt recording interface. The mixed down
tracks will be exported to use in comparison
to artist-played tracks that were recorded
on tour last year. My intention is to capture
the openness, the delicacy and balanced fre-
quency response that my beautiful old 815
exhibits in this room. I will then use these
tracks as a control from which I can quickly
refer while I am engaged in massaging the
actual acoustic guitar sound in the intended
direction. I will in no way attempt to mimic
the sound of the Taylor but I do hope to suc-
cessfully re-imagine some of the harmon-
ic combinations that make a guitar sound
uniquely complete.
My intuition tells me that the Waves Vita-
min plug-in may provide the means to add
a controllable harmonic boost to either gui-
tar input. Another option I am considering is
creating a small room reverb to use in con-
junction with the longer gold plate reverb
we currently employ. The TC 6000 algorithms
have great room sound presets that I can use
as a stating point. I believe I can build a space
that mainly consists of early reflections to add
some tonal complexity to the guitar sound. I
am also thinking about experimenting with
replacing the Waves 2-tap delay I currently
use with the Waves 6-tap delay. I may then
be able to judiciously add a bit more sense of
enclosed, reflective space to the guitar sound
to enhance the shimmer.
So there is always much to do during my
time off. Next month, I will report on the re-
sults of this particular process.
Safe Travels!
Catch David at dmorgan@fohonline.com.
 THEBIZ

Finding Gigs: The Online Approach By Dan Daley

H
ow do you find work? Boring. Ba-da-
boom. No, seriously its easy to fall
into the sense that what live-sound
mixers do is incredibly unique. After all, at
the apex of the profession, theyre respon-
sible for making the music industrys top
artists sound as good as possible every mo-
ment on stage while at the same time being

responsible for making sure the 16-year-old
girl in the 35th row of section D gets every
bit of value and pleasure out of the $105
earned from babysitting that she spent on
that ticket. Further down the food chain,
the glamour may diminish somewhat, but
not the responsibility every Friday night
has a story, and whoever is mixing sound is
in charge of its soundtrack.
But in a larger sense, the front-of-house
and monitor mixer are members of a grow-
ing army of audio professionals, an ev-
er-larger percentage of whom are waving
diplomas and certificates in the air, hoping
to attract attention and a job. Theyre part
of what might be the single largest cohort
of self-employed in American history in
2015, 15 million people, or 10.1 percent of
total U.S. employment, were self-employed,
according to the latest numbers from the
Bureau of Labor Statistics. But thats cer-
tainly low even the BLS hedges their
numbers by noting that many freelancers
turn into corporations themselves, usually
for tax purposes, and thus show up on their
own tax returns as employees of them-
selves. And there was also that little thing
called the Great Recession in there, skewing
numbers.
More realistic might be data from a study
conducted by software company Intuit that
predicted that by 2020, more than 40 per-
cent of the U.S. workforce more than 60
million people will be so-called contin-
gent workers.
Meet The Apps
Like many areas of specialty, touring en-
tertainment technicians now have a num-
ber of online employment portals to use for
job searches. Crewspace (crewspace.com),
an invitation-only portal, asserts 17,000-
plus members; BobNet (bobnet.rocks)
describes itself as a closed and exclusive
community and admonishes members to
keep listings within the network; TourReady
(tourready.com), in La Mirada, CA is the
sleekest of these sites, with online freelanc-
er-availability calendars, industry-specific
search filters, video resumes and a mobile
app.
Joey Gallagher, co-owner with his father
of Gallagher Staging and Productions, says
TourReady was borne out of frustration
with the ad hoc manner in which so many
events and tours hired the diverse array of
Large-venue shows (such as this Kenny Chesney stadium tour stop) and festivals all provide opportunities for freelancing crew members.
professionals they need including him.
A lot of calls tend to come in last minute,
asking, Do I know someone who does this
or that, or someone looking for work, he
says. Gallagher felt he was becoming a de
facto hub himself, and saw an opportunity
to match that need with a more app-based
technology approach. When I asked if Tour-
Ready is intended to be the Yelp of touring,
he responded, Exactly!
That includes using Yelp-like filters on
the app, which can narrow down the type
and scope of jobs and projects, and of ap-
plicants experience and expertise. It re-
flects one of the big challenges he sees in
the industry today: a growing pool of po-
tential workers, whose numbers are being
swelled now that the media-arts schools
are including touring subjects in their cur-
ricula, like live-sound mixing, coupled with
a very wide range of competency thats al-
most impossible to objectively judge. And
theyre all coming into a business whose
models are changing, with fewer but bigger
tours and more emphasis on limited-run
festivals.
When put that way, the question al-
most becomes, how can you not look to
app-based, or at least online, solutions for
matching people and projects? For the
same reason that the culture has turned to
Tinder (or Grindr hey, were not judging)
to create the connectedness necessary for
personal relationships, the industry has be-
come big and diffuse enough to warrant its
own cloud-based connection services.
FOH? Not So Much
These online shape-up portals include
pro-audio categories, including FOH and
monitor mixers. However, many veterans of
these verticals tend to use their own curat-
ed grapevines to look for work. I personally
have never received a job, or lead on any
job, from any Internet sources, Ken Pooch
Van Druten, Linkin Parks longtime FOH en-
gineer, wrote in an email. Doesnt mean
that they are not valid. I think that there are
some people that get jobs on BobNet. My
work comes word-of-mouth. I stay in touch
with relationships, and the work seems to
come to me. Kirk Kelsey, whos mixed for
3 Doors Down, says hes heard of mixed
outcomes from online employment sites.
I know of a few production people filling
backline tech positions, with a few night-
mares included, he says. Ive never had any
FOH gigs come from a website personally,
though.
Granted, thats hardly a representative
sample, and its likely that the idea of us-
ing app-based resources for finding work
will become more widely accepted as the
FOH cohort grows younger over time. If the
history of technology tells us anything, its
that well likely see a plethora of these app-
based services sprout in coming years. That
raises questions or should about their
MONKEY BUSINESS
motivations. Right now, the field is leaning
towards altruism; Gallagher told me that
hes funded TourReady largely by himself
but is planning on adding some advertising
to the site in the very near future, to help
offset development costs. But if theres a
market here he says his own database
has over 30,000 crew names in it expect
other entities to enter the market, some
of which may not have any background in
touring expertise but perhaps plenty in on-
line marketing and monetization. Thats not
necessarily a bad thing think Angies List,
which has no inherent competencies other
than marketing and search-engine exper-
tise, and now makes its money through
advertising and referrals (its former sub-
scription model was undercut by online
competition). But it will also mean that
the doctrine of caveat emptor will become
more important.
For now, the online work-search uni-
verse is largely run by people a lot like you.
That will change, because the live-event
business is only going to get bigger. But
the models for it are being built all around
it. So even if every gig youll ever get came
from less than six degrees of Kevin Bacon,
just remember that it may not be that way
forever.
Dan Daley is a noted journalist and bon vi-
vant. Reach out to him at ddaley@fohonline.
com.

TourReady was borne out of frustration with the ad hoc manner in which so many events and
tours hired the diverse array of professionals they need.

fohonline.com MAY 2017 55

 THEORY & PRACTICE
By SteveLaCerra
The Art of Festival Survival
I
ve touched on the festival experience
in this column before, but with festi-
val season kicking off this month, I
thought Id revisit the topic and maybe
offer some useful advice for anyone fac-
ing the fun of festival mixing.
A Very Wet, Late-Night Set
Last year, I worked a show at the
Wacken Open Air Festival in Germany.
While it wasnt the worst festival experi-
ence Ive had, Id definitely say it was one
of the less pleasant ones. Maybe its be-
cause Im becoming a grumpy-pants and
our time slot was 12:10 to 1:00 a.m. Ugh.
I should be falling asleep while watching
reruns of Law and Order at that hour. If I
recall correctly, we had a 5:00 a.m. lobby
call the next morning and since wed
be flying out we arranged hotel rooms
near the airport approximately two hours
from the festival site. Do the math. I dont
believe that my crew and I ever went to
sleep that night. But thats business as
usual and just another reason why at
least from a live sound viewpoint festi-
val season stinks.
The fact that it was pouring rain
didnt help matters. Festivals go on rain
or shine, so its not like there could pos-
sibly be a rain date (although if theres
lightning in the area, all bets are off and
Im pulling my guys off the stage). I was
smart enough to have my combat boots
with me, but one of my band guys literal-
ly lost a shoe in the mud and never found
it. True story. So make sure youve got
rain gear, and while youre at it, pack a
hoodie to put under the rain coat in case
the temperature drops. Bring an extra
pair of socks for the ride back to the ho-
tel. Sometimes, its the little things that
count, but youll be glad you did.
Access All Areas
My crew and I were scheduled for ac-
cess to the stage at 9:00 p.m. I had ad-
vanced several rolling risers so that we
could prep the gear prior to changeover:
one riser for the drum kit, another for the
keyboard setup and two more smaller
(and lower) ones for the guitar rigs. Our
plan was to prep as much as possible in
the wings while the support acts were
on stage, and roll out the gear during
changeover. If I recall correctly, we didnt
get the risers for the guitar rigs but that
wasnt a big deal. We left the 4x12 cabs in
the rolling tray part of their road cases,
making them easy to move. The drums
were set and drum microphones were
placed well in advance of show time,
so that part was easy. Ditto for the key-
boards and their DIs. What we did not an-
ticipate were the conditions in the wings
of the stage.
Our particular venue at Wacken,
known as the Wet Stage, was actually two
56 MAY 2017 fohonline.com
stages side by side. The backstage area
(and Im talking about the stage itself,
not catering) and the wings were sort
of common to both stages. As my crew
and I prepped gear in the wings, one of
the support acts was on stage. We were
subject to the most disgusting display of
onstage volume I have ever experienced.
It wasnt loud. It was brutal. In the words
of one of my techs, who served as a spe-
cial ops troop in the army, it was the kind
I find it ironic that many
European festivals have strict
SPL restrictions at the FOH mix
position, yet completely ignore
the stage volume conditions to
which the crew are subjected.
Ironically, a midnight slot in the pouring rain at the Wacken Open Air Festival proved to be the least of the problems faced
that night by a certain FOH engineer. Pictured here, Blue yster Cult.
of volume level that you use as a form of
torture. He wasnt joking. Even with ear-
plugs, it was unbearable. We could barely
communicate with each other, let alone
express ideas to house crew who were
not necessarily fluent in English. Maybe
we need to add hearing protection muffs
to the manifest in addition to 1,000 pairs
of earplugs. I find it ironic that many Euro-
pean festivals have strict SPL restrictions
at the FOH mix position, yet completely
ignore the stage volume conditions to
which the crew are subjected.
Assume the FOH Position
As showtime approached, I went
out to front of house to saddle up with
my console. By that time, a different act
was on stage. The volume level at front
of house was so disturbing that I could
not communicate with the systems engi-
neer who was standing right next to me.
Really? What gives? Is it really necessary
to mix that loud? Luckily, I had a pair of
closed-back headphones with me. I put in
my earplugs and then put the cans over
my ears while Attila The Stun was mixing
the support act on a different desk a few
feet away from me. Doing so enabled me
to just about hear myself think so I could
dial a few things into my console. Leave
your open-back headphones home.
STEVE LA CERRA
Anyway, I managed to communicate
enough via sign language with the sys-
tems engineer that he was able to load a
scene from my USB drive into the console
(a Soundcraft Vi4) so at least Id be able
to have a working scene to start. Make
sure you travel with files for every con-
sole you can imagine and carry files for
consoles you cant imagine. A phone call
made in advance will give you a heads
up on what desk will be available (dont
expect that you are going to get your
preference), so if you dont already have
a file for it, you have a fighting chance at
creating one prior to show day. We dont
carry backline or a microphone pack-
age, so the concept of recalling a mix is a
suggestion at best but its better than
starting from scratch under pressure. We
do carry our vocal microphones so theres
consistency in the sound of the vocals at
every show, and they are easy enough to
haul around with the rest of our fly gear.
Stay Calm and Make Sure the Mics
Work
When changeover time came, the
crew rolled our gear onto the stage. The
house audio techs placed and pinned the
remaining microphones, and we started
to line check. Mind you, this was a quick
turnaround. The band on the adjacent
stage ends, and then its like 10 min-
utes until the next act starts.
Im a stickler for punctuality and have
been known to get a little pissy when a
support act starts late or goes beyond
their designated time. At Wacken, howev-
er, I was on the other side of those tracks.
During my line check, I was not getting
all of the channels for Bucks guitar. I
dont care who is yelling in my ear or my
face (or at any other part of my body, for
that matter) but Im not starting a show
without those inputs. I waited ten min-
utes until it was sorted out. In spite of
how I abhor starting late, I thought, Too
bad, but Im not here to see my guys be
embarrassed. Composure was my friend,
even while I felt my blood pressure rise.
Remember this: Composure is your friend,
and youll be thankful that you remained
calm when the night is done. In the un-
lucky circumstance that you dont get
a line check, prioritize setting the input
channel gains and worry later about the
small stuff. No one is going to care about
the EQ on the hi-hat, or notice the action
of the gate on the bottom snare micro-
phone if they cant hear the lead vocal.
You can dial in effects, gates and comps
as the show progresses.
Q is Not Just For EQ
Depending upon our set list, we have
anywhere from three to five prerecord-
ed show cues. Most of them are timed
within their respective songs, so starting
them at the right instant is critical. For
that reason, I hate using the disk drive in
a computer (they go to sleep, and even
when they dont, the drive never spins up
quickly) or my phone or iPod (the screens
behave erratically under certain tem-
perature conditions, and using a music
player on a phone is clumsy at best). Lo
and behold, there was, in fact, a CD player
at FOH, as I requested and it worked!
You might laugh, but its becoming more
and more difficult to get an old school CD
player at FOH. And all those audio files
are on my phone anyway, just in case. I
even carry the cues on cassette. Think Im
kidding? No, Im not.
Steve Woody La Cerra is the tour man-
ager and Front of House engineer for Blue
yster Cult. He can be reached via email at
woody@fohonline.com.
 PLSN/FOH is Putting the Event Production World in the Palm of Your Hand!
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All the data from the Event Production Directory and EPDweb.com
is NOW conveniently available on your iPhone or Android devices!
Out at a job site and a console goes south? Grab
your iPhone or Android device and find the closest
one available with the EPD App.
Doing a show out of town and need sub-rental part-
ner? Grab your iPhone or Android device and see
who in that city has the gear with the EPD App.

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Search the EPD App: From your search result

From any radius of your
current location
By the radius of any city
By Type of company - you can...
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needed
Go to their web site
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See their entire gear inventory!

Download it now (FREE) from the App Store or Google Play, and you will
have the entire live event production industry at your fingertips.

Want to stand out on the new EPD App? State and section sponsorships are available. Contact:
Greg Gallardo Matt Huber Michael Devine Judy Wang
Tel: 702.454.8550 Tel: 702.932.5585 Tel: 702.478.8112 The Greater China
Fax: 702.898.2942 Fax: 702.554.5340 Fax: 702.554.5340 Worldwide Focus Media
gregg@timelesscom.com mh@timelesscom.com md@timelesscom.com Tel: 0086-13810325171
judy@timelesscom.com
 SOUNDSANCTUARY

By VinceLepore
Tips for a Great IEM Transition
O
ver the past decade, many churches have transi- gain structure. Do not neglect the need to properly gain struc- they feel completely closed off from the outside world. The
tioned from monitor wedges to in-ear monitors. The ture IEM systems as you would with anything else. If you are isolation from in-ear monitors is both a blessing and a curse.
cost of in-ear monitoring has come down dramatical- using hardwired IEM packs, find out what output level on your By attenuating most of the outside sound, it allows them to
ly for wired IEM systems, wireless systems and the ear buds console produces clipping on the pack, and be careful not to maintain a reasonable listening level that is safer for their ears
themselves. Nevertheless, there are certainly still churches exceed that level. If youre using wireless packs, take note of because they arent trying to compete with the volume of the
out there that havent taken the plunge and are still trying to where your transmitters clip and adjust the input level of the P.A. At the same time, when you lose the ambience, the mix
navigate the benefits and challenges of moving away from transmitter to align the consoles and transmitters clip point. sounds sterile, dry and lifeless.
wedges. While in-ear monitors arent for everyone, they of- That way, just avoid clipping on the console and you know As you try to reclaim some of the ambience your worship
ten solve many of the traditional problems that we have with that youre good on the transmitters input. Nothing destroys team wants to hear, consider some of the following options.
monitor wedges. an in-ear mix faster than clipping and distortion. Personal monitor mixers such as the Roland M48 has a small
microphone built into the mixer that allow art-
Wedges: Tried and True ists to dial in some ambience. Its a start, but it
Wedges are the tried and true stage mon- probably isnt going to give them the quality
itoring method. It is tough to give them up ambience they are looking for. Instead, you
because they are very flexible and somewhat might try a pair (or multiple pairs) of ambient
forgiving. In-ears require significantly more at- microphones that can be fed back through
tention to detail from the engineer. The down- your bands in-ear mix.
sides of wedges are fairly obvious and well Placement of such ambient microphones
documented. They create hotspots onstage is a challenge. Try to focus on capturing the
where the mix might be good in one area, but ambience as your artist would hear it naturally
move three feet to the left or right and the mix if they werent wearing IEMs. That means you
changes dramatically. Of course theres the cant reasonably place your ambient micro-
greater potential for feedback, and wedges phones at FOH or have them hanging over
bleed energy all over the stage and out into the audience. Placements like that are good as
the audience as well. ambient mics for live recording, but not for in-
ear monitoring.
The Transition to In-Ears Instead, place the ambient microphones on
If you have yet to move over to in-ear mon- or near the stage. A stereo XY pair in the center
itoring, there are a lot of gear options and oth- of the stage works well if it isnt an aesthetic
er considerations. The most difficult transition Many churches have made the move from wedge monitors to in-ear monitoring. Pictured here, the First Assembly Church in issue. Or, you can do a split a pair with one on
Raleigh, NC.
to ears will be for vocalists who are used to each side of the stage. Add a high-pass filter
hearing their own voice through a monitor wedge. As soon Next, consider whether youll be providing your worship and bit of light compression to the ambient mics, and gently
as they try in-ear monitors, theyll perceive a change in the team with mono or stereo mixes. Mono mixes can work for blend them into the in-ear mixes. Some musicians will prefer
tonality of their own voice. Try plugging your own ears with IEMs, but stereo mixes are worlds better. With a mono mix, the more ambient sound, while others will likely ask you to
your fingers and talking, youll get the idea. This can make for having everything panned dead center makes it difficult to remove the ambience from their mix.
a challenging and delicate transition as they make the switch, differentiate between sources that share frequency ranges
and the audio team needs to be conscious of their plight. such as guitar, keyboards and vocals. This often leads to the Meeting the Challenge
Weve all seen vocalists pulling out their in-ears as soon as a more me syndrome, where your performers always seem to Switching from wedges to ears is a process that doesnt
song starts and they cant hear themselves. If youre thinking need to hear more of themselves. By providing a stereo mix, a happen overnight. Even if you move your entire band to ears
about transitioning your worship team to IEMs, it might be a little bit of panning can go a long way towards creating sepa- tomorrow, there are going to be challenges and hurdles to
good idea to move the band over first and let them get situat- ration and space in the mix. overcome. A good relationship between the band and the
ed, and transition the vocalists later. Finally, be sure to consider isolation and ambience as tech team is essential to making everyone happy with their
your team moves over to ears. When an artist is on a wedge mix.
Mixing Considerations for many years, they arent just hearing their wedge, they are
As you make the move to ears or try to make improvements hearing bleed from everything on stage, theyre hearing the Vince Lepore is the technical director at St. Lukes United Meth-
to existing in-ear monitor mixes, there are a lot of mixing tech- congregation and they are hearing the acoustics of the room. odist Church in Orlando and teaches live production at Full Sail
niques to consider. The first (and often overlooked) aspect is Now pop in a set of IEMs with 20 to 30 dB of isolation, and University. Contact him at vlepore@fohonline.com.

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58 MAY 2017 fohonline.com

 MARKETPLACE
To Advertise in Marketplace, Contact: Greg 702.454.8550 gregg@timelesscom.com FRONT OF HOUSE

VENUE | S6L

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fohonline.com/app
PLSN/FOH is Putting the Event Production World in the Palm of Your Hand!
INTRODUCING

The App!

All the data from the Event Production Directory and EPDweb.com
is NOW conveniently available on your iPhone or Android devices!
Out at a job site and a console goes south? Grab
your iPhone or Android device and find the closest
one available with the EPD App.
Doing a show out of town and need sub-rental part-
ner? Grab your iPhone or Android device and see
who in that city has the gear with the EPD App.

Sponsorship

Search the EPD App: From your search result

From any radius of your
current location
By the radius of any city
By Type of company - you can...
19 different sections -
Call your look-up
By Brand name of gear
Email your look-up
needed
Go to their web site
By Company name
See their exact street location
See their entire gear inventory!

Download it now (FREE) from the App Store or Google Play, and you will
have the entire live event production industry at your fingertips.

Want to stand out on the new EPD App? State and section sponsorships are available. Contact:
Greg Gallardo Matt Huber Michael Devine Judy Wang
Tel: 702.454.8550 Tel: 702.932.5585 Tel: 702.478.8112 The Greater China
Fax: 702.898.2942 Fax: 702.554.5340 Fax: 702.554.5340 Worldwide Focus Media
gregg@timelesscom.com mh@timelesscom.com md@timelesscom.com Tel: 0086-13810325171
judy@timelesscom.com

fohonline.com MAY 2017 59

 FOH-AT-LARGE
By BakerLee Economics 101
M
uch like everybody else on the
planet, I have recently been dis-
tracted by the daily news and
non-news reports regarding the present
administration. Since the inauguration,
new shocking and head-scratching revela-
tions have been brought to light on a daily
basis, thereby making our collective reality
seem like an episode of the television shows,
House of Cards, Veep and Homeland all rolled
into one. While it is amusing and entertain-
ing to watch the heroes and heroines of
these shows melt down and self-destruct
due to their self-serving attitudes, the com-
edy and irony of these scripts is lost when
translated into our real-life experience.
Indicators
One of the realities that has been noted
during the first few months of the new ad-
ministration is that tourism is down, and the
travel website, Kayak, has stated that interest
in traveling to the United States has waned
in 2017. Online searches for U.S. destinations
have fallen and the hotel rates for NYC, Las
Vegas and Los Angeles have been cut by
as much as 30 to 40 percent. Since Jan. 20,
2017, tourism to the U.S. is down by about
17 percent. To understand how dramatic this
drop is, it must be noted that U.S. tourism
generates approximately 8 percent of the
GDP, and a drastic plunge in numbers can
easily lead to loss of jobs and revenue. The
travel industry generates about $60 billion
dollars annually for New York City alone, and
for those of us who provide audio services,
these numbers could prove to be problem-
atic.
Audio Effects
I have already noticed that, in the first few
months of 2017, the event business has been
down between seven to ten percent from
the same time in 2016. At the moment, there
is no solid proof that this is a direct result of
the current administration and its changing
policies, but if people are hesitant to come
visit the country for pleasure, then the con-
cern would also be that there are companies
who might take their business elsewhere to
stage their trade show or event. If certain
bands are denied entrance into the country,
INFOCOMM PREVIEW
NEXT MONTH
An Advanced Look at Orlando Product Hits: This special section
will offer sneak previews of some of must-see new technologies being
shown June 14-16.
60 MAY 2017 fohonline.com
While it is important to keep our borders secure,
it seems reasonable that we, as a country,
should also make sure that people feel welcome
to come as tourists as well as for business.
that too could be the cause of revenue loss
as certain events revolve around the specific
bands.
The entertainment business is different
than other businesses, and sometimes seem-
ingly immune from changes in the market-
place, yet it is still capable of succumbing to
the politics and financial fluctuations of the
day. When oil prices rose in the late 1970s,
many of the large touring bands had to re-
think their 15-trailer shows, as they had not
budgeted for the huge oil price increase.
During the recession at the beginning of this
century, many top name acts such as Rihan-
na, The Eagles and Lilith Fair all had to cancel
shows or cut back their tours, as it was diffi-
cult getting enough people to shell out for
the high ticket prices.
In the 1980s, live events made up a third
SOUND SANCTUARY
Acoustic Challenges: Our man in the pews looks at ways
of dealing with the troublesome acoustical and coverage
issues that create problems in many churches.
ILLUSTRATION BY ANDY AU
of the revenue that album sales provided.
In the 90s, concert sales brought in half as
much as recordings. In the 2000s, the album
sales had a small lead, and by 2010, record-
ed sales dropped to about a third of concert
sales. Considering that the touring market
has come to be more financially viable than
recorded sales, it would be a real blow to the
pocketbooks of the people depending on
live shows if some official government pol-
icy were to infringe upon ticket sales.
Despite recent attacks in nightclubs and
theaters, the fear of terrorism has not kept
people from going to live concerts or events,
and this bodes well for us in the live produc-
tion field. Unfortunately, the revised im-
migration laws are keeping certain people
at home and also quite a few from visiting
the country. As travel around the globe for
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professional and personal reasons becomes
more difficult, it would appear that our in-
dustry is likely see a drop in revenue due to
an inhospitable atmosphere of isolationism.
This same attitude is also beginning to be
mirrored by European countries that, citing
a more stringent protocol, are also making it
difficult for traveling bands.
During the 1990s, as jingle houses and
recording studios began to lose out to the
home studios, a Broadway contractor told
me that the session player who was making
$100,000 a year was then cut to only making
half of that. The studio musician making $50
grand dropped to $25 grand a year, and the
guys making $25K had to leave the business
altogether. I assume some went into a differ-
ent line of work, but many of them followed
the money trail, which was the live perfor-
mance market.
While the administration is hard at work
making a case for a travel ban to the U.S., the
actual risk of foreign terrorism in the U.S. is
very low, and statistics show that a person
in the U.S. would be far more readily felled
by a car crash or a heart attack than a ter-
rorist attack. While it is important to keep
our borders secure, it seems reasonable that
we, as a country, should also make sure that
people feel welcome to come as tourists as
well as for business. According to the Glob-
al Business Travel Association (GBTA), since
January 2017 the tourism industry in the U.S.
has so far reportedly lost $185 million dollars
some of which might have found its way
into the pockets of the live entertainment
industry.
Our livelihoods depend upon selling tick-
ets to people who want to go out and have a
good time. Draconian laws and a repressive
environment do not do much in the way of
attracting the required peopled needed to
fill seats and fill our coffers. Flight demand to
the U.S. has dropped in 94 out of 122 coun-
tries and not just from the countries that
were hit with the travel ban. Interestingly,
while flight search demand was down in a
majority of countries, the one country where
the search demand was up by 88 percent
was Russia go figure.
Contact Baker Lee at blee@fohonline.com.
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