A Mess of New Audio Tech

By Bill Evans

FRANKFURT, Germany — The Prolight+Sound Expo and Musikmesse opened in Frankfurt

on April 1 and there was enough new audio tech being announced that one could have been
excused for thinking it was all just an elaborate April Fool’s joke. In addition to the expected
new mics, consoles and speakers, there were at least four announcements centered on digital
audio platforms, at least one of which has the potential for long-term, major impact on the
way we do our jobs as live audio providers and system installers.
First up, the marriage of Meyer and LCS a couple of years back is bearing fruit with the an-
nouncement of D-Mitri, which combines LCS total audio show control with the Constellation
electroacoustic architecture, and jacks it all up a notch or two with Gigabit networking, en-
hanced configuration flexibility and mixing and routing of matrices up to 576 x 576 channels
via proprietary computer software, or cus-
tom third-party programs, using standard
Open Sound Control (OSC) messages.
PEOPLE. PRODUCTION. GEAR. GIGS. Components of the system are slated One Little Wedge
to begin shipping in fall of 2009.
APRIL 2009 Vol. 7 No.7 As long as we are in Germany anyway,
let’s take a look at the newest from Bosch,
Two Little Wedges

A Man of Many Hats Three Little Wedges…

which launched version 2.0 of IRIS-Net. It
offers control of everything from the mic
to the speaker as long as it is Bosch/EV/Mi-
das/KT stuff—much like the system a cer-
tain American company has been touting
for a couple of years.
Speaking of which, over in Harman
Land they demoed end-to-end Ethernet
AV over three product lines—BSS, dbx and
Crown. Sounds a bit like HiQNet for the in-
stall market.
Not to be left out, Aviom showed a
self-contained Pro64 Network Control
Application that allows for the design of
sophisticated networks without PC-based
programming.
All that and a bunch of actual physical
gear, too. For more on the less ethereal stuff,
see our coverage starting on page 16.

Shure Files for Petition Sometimes when the phone rings

you should just ignore it. When a lo-
for Reconsideration on cal production company called and
White Spaces said they were in possession of a set
of new EAW MicroWedges, a set of
WASHINGTON DC — It’s been how new Radian APEX boxes and had a
long and we are still talking about this passel of original MicroWedges and
crap? that we oughta hook ‘em all up and
When everyone in the band is a record producer, you need chops to get their respect and co- Bottom line is that while we are all do a head-to-head (or box to box…)
operation. Gordon Mack has all that and a bag of chips in his gig with R&B crooner John Legend. trying to move ahead assuming that pro comparison, for some stupid reason
Oh, and did we mention he is also the PM? See page 18 for the dirty details. audio will be blocked out of the 700Mhz we found ourselves agreeing — even
band for wireless mics, the FCC has not yet though the results were bound to
issued a final ruling on the subject. piss off everyone to some degree.
Among a bunch of others, Shure sub- We should have remembered the
No Squints Allowed: ProAudioSpace Debuts mitted its final petition to the FCC on this
matter last week. The petition is dense
mantra we have lived by lo these
many years: The only ones who get
LAS VEGAS — Social networking is all the rage as you must know if you have an email ac- with legalize but it comes down to this: shot in a shootout are, well, us. But
count and get the daily FaceBook/LinkedIn/Plaxo connection requests. And those services are Whether the Commission’s new“white we did the deed anyway. If you want
great for staying in touch with the suits of the world. But there are times when crew just wants spaces” rules successfully protect incum- to check out our take on the three
to be crew and the mainstream networks are a little staid for that. bent operations, including particularly sets of stage wedges, see the first
“I had been hipped to CrewSpace a while ago and am a member,” said Bill Evans, FOH edi- wireless microphone operations, in this and likely only shootout we will ever
tor. “On a whim, I did a search of the member profiles for the words ‘audio’ or continued on page 6 challenging spectrum continued on page 6 do on page 22.
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 www.fohonline.com

APRIL 2009,
Vol. 7.7

Showtime
Features Columns
Feature
16 New Gear: Musikmesse Report 32 The Biz
What’s Hot

The economy takes a dive, and audio innovation Freight forwarding companies are facing com-
soars. Go figure. plexities that are starting to rival — and even
exceed — the challenges they faced in the wake
of 9/11.
18 FOH Interview
Gordon Mack, FOH engineer and production
manager for John Legend’s tour, steals a few mo-
ments from his busy schedule to speak to FOH.
34 Theory and Practice
We go back to basics — and does it get any more
basic than this? — with a look at power distro
20 Buyers Guide connectors.

14
A look at system controllers.
36 FOH at Large
Sound Art Canada helped make the Canadian Ab- 22 Road Test Trust no one — unless they’re an audio
original Achievement Awards in Winnipeg an event The new variants on the classic MicroWedge just engineer. Why? Well, for starters, you can’t fake
to remember. beg for a shootout, and we just can’t resist. Here’s good sound.
the semi-scientific FOH report.

24 Road Test
Selling houses of worship on the virtues of lav Departments
Regional Slants mics can be a challenge. The Da-Cappo DA04
can help. 4 Editor’s Note
5 News
26 Vital Stats
What’s Hot

Did you know that Chuck Surack, president and 11 International News
founder of Sweetwater, is a helicopter pilot and
plays sax in a band on weekends? Find out more
14 Showtime
on page 26.
16 New Gear
28 In the Trenches
David Moncrieffe II, system engineer and crew
chief with Clair, and Tony Sandoval, owner/op-
erator of T.S. Productions.

Audio East Inc. owner/operator Daniel Bouchard

30
branched out from audio — reluctantly — to keep
his clients happy.
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2 APRIL 2009
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 Editor’s Note
By BillEvans

“This Industry Is Too Small To Publisher

Terry Lowe
F#%& Anyone Over” tlowe@fohonline.com

Editor

A good friend of mine said these back at me. (When I know I am on the in the little market they both worked Bill Evans
words to me a couple of weeks ago. wrong side, I tend to avoid mirrors…) in. Note that this all went down in the bevans@ fohonline.com
The “wazzup with you?” call had turned More to the whole biz point, when I have midst of one of the cyclical downturns
Managing Editor
to some rumors of dirty deeds done dirt made the wrong decision for short-term we see in the economy.
Frank Hammel
cheap in the live audio biz. Not gonna gain, it has bitten me in the ass later ev- But being one of those “do the right fh@fohonline.com
name any names or even give details on ery single time. And the few times I have thing guys,” he didn’t take that road. He
any situations. The idea here is not to given up that short term gain because it stopped and remembered the times his Technical Editor
call anyone out but to remind us all that was not worth the “soul” cost I have— competitor had bailed him out of a bad Mark Amundson
in audio, as in life, what goes around eventually—ended up with more than gig or subrented gear at below market mamundson@fohonline.com
comes around. I would have had I made the wrong rates for a low-budget gig. And when he
With the economy still sucking and choice when it was offered. got the inevitable calls asking for a quote Editorial Assistant
gigs still canceling it is easy to see how Back when I was living in the L.A. from the competitions’ clients, he gave Victoria Laabs
vl@fohonline.com
the other guy a head’s up phone call and
at least gave him a shot at saving the gig.
Contributing Writers
Ours is a small industry... people who And his competition did not save all of Jerry Cobb, Dan Daley,
them and, yes, some went to him.
have been given the shaft have very That was a long time ago. In the end,
David John Farinella, Steve LaCerra,
Baker Lee, Jamie Rio
long memories, and the clerk at the the unfortunate fellow pulled out of his
tailspin and is still around. His company Art Director
Bank of Karma keeps really good is still small and he is still friends with Garret Petrov
records. the competition who would not pick gpetrov@fohonline.com
him off when he was “low hanging fruit.”
Production Manager/
The other guy’s company has about tri-
Photographer
one might go to “extra lengths” to se- area and long before I was at the helm pled in size. He moved out of the garage Linda Evans
cure gigs and keep some cash flow hap- of FOH, I did some work with a couple years ago and has made a good living levans@ fohonline.com
pening. And any talk of what is and is of smaller sound companies of the “run for himself and his family. The two guys
not ethical when it comes to securing out of the garage” variety. Both of the who urged him to “go in for the kill” Web Master
business is tough. I personally do not guys who ran the show were okay, and have been out of the business for years. Josh Harris
subscribe to the school of thought that I liked them both a lot. And they stayed I think they both ended up in sales… jharris@ fohonline.com
embraces “situational ethics.” It may be out of each other’s way. This is not to say But back to the beginning of this
hopelessly passé, but I do believe in the that they did not compete, but they did whole thing. Ours IS a small industry. Not National Sales Manager
concepts of right and wrong and I know not stoop to poaching the other guy’s so small that everyone knows everyone Dan Hernandez
dh@fohonline.com
that at least for me, I know when my ac- gig, either. else, but close to it. I say it every time I
tions fall on one side or the other of that At one point one of the two hit a go out to an event, a show or even an National Advertising Director
line. I am not stupid enough to think real rough patch on a personal level— audio convention. I see the same faces, Gregory Gallardo
that my actions always fall on the right the kind of “rough patch” that would put they may wear different hats than the gregg@fohonline.com
side of that line but when they don’t, the hurt to any of us. He started letting last time I saw them but the faces are
I may make excuses and protest but I business slip and customers started to the same. Keep that incestuous nature General Manager
know in my gut that I am on the wrong notice. A couple of guys from the oth- of our business in mind and remember William Hamilton Vanyo
side of the line. er “shop” started to tell the owner that that people who have been given the wvanyo@fohonline.com
When I stay on the right side of the the time was ripe to swoop in and take shaft have very long memories and the
Business, Editorial and
line I get to look at myself in the mirror all of the other guy’s gigs, put him out clerk at the Bank of Karma keeps really
Advertising Office
and not despise the person who looks of business and decrease competition good records.
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4 APRIL 2009 www.fohonline.com

 News

2009 Parnellis to Include “IT” Awards

New “Indispensable Touring” Products To Be Honored in Four Categories
LAS VEGAS — Want to know what this total of 20 of the top nominees, five each in vote thus ensuring the integrity of the award. “We have been talking about a way to
year’s “IT” is? So do we. these four categories: IT Audio, IT Lighting, IT Voting for the final winners will end October honor great technology without diluting
The Parnelli Board of Advisor is announc- Projection and IT Staging/Rigging. 31. the “people” focus of the Parnellis and
ing an important addition to the popular Par- Everyone is encouraged to go to parnel- “Every year a dizzying array of great the creation of the IT Awards as a sepa-
nelli Awards. This year, for the first time ever, liawards.com/nominate and nominate his or products are put on the market, all de- rate entity with separate voting allows us
four new products will receive a special Par- her favorite new “Indispensable Technology” signed to help live event professionals do to do just that,” says Bill Evans, FOH edi-
nelli Award, the “IT Award” in recognition of product, starting on July 15. their jobs even better,” says Terry Lowe, tor. “Now we will be able to give props to
their contribution to the live event industry. The ballot of nominees will be featured in PLSN/FOH publisher and Parnelli executive our production brothers and sisters and
The nomination process is open to all our October issues in our many media outlets. producer. “Our readers hear about these highlight the technology that allows us to
readers of PLSN and FOH magazines, live The winning product in each category will be products first and foremost in our publica- do great shows. Not too shabby.”
event professionals and live event product chosen just like all other Parnelli winners — tions, so we wanted to give them the op- Winners will be announced and awards
manufacturers. The nomination process will through a voting process. Only subscribers of portunity to tell us of all the products that presented at the 2009 Parnelli Awards being
start July 15 and end August 31. The Parnelli FOH and PLSN magazines are eligible to vote. came out in the past year, which are truly held November 20, 2009 in Orlando (in con-
Board will tabulate the votes and then offer a They must put in their subscription code to ‘Indispensable Technology.” junction with LDI).

Lab.gruppen Names
Larson its Next CEO
KUNGSBACKA, Sweden — Lab.gruppen
named Ulf Larson as its next CEO, effective July
1. The time frame allows for a handover period
from the company’s current CEO, Tomas Lilja,
who spent nine years at the company’s helm.
“Ulf has many years of experience in senior
management at Lab.gruppen,” noted Anders
Fauerskov, chairman of the board and CEO of
Lab.gruppen’s parent company, TC Group. “Most
importantly, as far as the company’s develop-
ment is concerned, Larson has been heading up
the business units developing the PLM Series
Powered Loudspeaker Management systems
and the new Lake LM 26 digital audio processor.”
“After nine years as CEO of Lab.gruppen, I
now have decided to take on a new challenge
in the software industry,” said Lilja. “ It hasn’t
been an easy choice, but leading Lab.gruppen
through several growth phases and the fact that
many goals and visions have been accomplished
and fulfilled have made me to desire to take on
the new challenges of developing a smaller but
potentially successful company once again. The
difficult part of my decision is that I will miss my
staff, customers and friends within the industry.”
“I am honored by this appointment and am
excited by the challenge of taking the company
forward as we continue to expand sales in core
and newly targeted markets,” Larson said.

Rational Acoustics
Gets SMAART
WHITINSVILLE, MA — EAW announced that
Rational Acoustics has been given worldwide
distribution of SMAART sound system mea-
surement, optimization and control software,
and will soon own SMAART outright.
Under the two-stage agreement between
EAW and Rational Acoustics, all of the mechan-
ics and infrastructure associated with the sales
and distribution of SMAART are being modi-
fied. Sales of SMAART will now be conducted
and supported by Rational Acoustics. Within
six months, Rational Acoustics will purchase
SMAART and assume responsibility of the man-
agement of the products at that time.
Rational Acoustics, founded in early 2008
by Jamie and Karen Anderson, Calvert Dayton
and Adam Black, has been working with EAW
for the past year, offering SMAART support,
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development and a training program. “It’s a

very friendly and synergistic relationship which
has benefited both companies as well as the
SMAART user community,” said Karen Ander-
son, COO of Rational Acoustics and former di-
rector of marketing for EAW.

2009 APRIL 5
 News

More than Just Car Speakers at 2009 Auto Shows

DETROIT — For this year’s NAIAS show, speakers should be visible, which precluded to provide even coverage
both Audi and Volkswagen turned to the our using any sort of line array,” said Benjamin in the booth area. Four
POOL Group of Emsdetten, Germany to coor- Stilleke, POOL Group’s technical manager who 600-HP subwoofers pro-
dinate the multimedia presentations for their handled the Volkswagen booth. “The highly vided bottom end for the
booths, which included Meyer Sound systems focused coverage of the UPQ-1P loudspeakers main system, with ten
featuring the new UPQ-1P loudspeaker. provided us with the power and the focus nec- UPM-1P loudspeakers
The system for the Volkswagen booth in- essary, without the need for a line array. covering the second floor
cluded left, right and center pairs of UPQ-1P “The press events posed very different de- catering area and seven
loudspeakers with four UPJ-1P VariO™ loud- mands than the public days, and it was neces- UPQ-1P loudspeakers for
speakers covering nearfill and eight UPA-1P sary to create two entirely different scenarios,” delays.
loudspeakers for delay. Six 600-HP subwoofers Stilleke added. “The flexibility of the UPJs in The Audi booth also
provided low-frequency coverage. particular was really helpful, enabling us to included a special dis-
During the press events preceding the place the horns in vertical or horizontal orien- play room, “The Heart of
public dates, the system was expanded with tations.” Audi,” with a single 600-
additional UPA-1P loudspeakers and 600-HP Johannes Roesel, POOL Group’s technical HP placed face down to
subwoofers, along with a Galileo™ loudspeak- manager, oversaw the sound design together simulate a heartbeat. A The mandate at this year’s NAIAS booth for Audi and Volkswagen was to be heard and not seen.
er management system with three Galileo 616 with Christian Oeser for the Audi booth, em- single UPA-1P loudspeaker provided this ef- POOL Group and the Volkswagen Group
processors to provide system drive and pro- ploying a main system comprising three arrays fect. A Galileo loudspeaker management sys- reunited for the International Motor Show in
cessing. of six M’elodie™ line array loudspeakers each, tem provided processing for the multichannel Geneva in March and will do so again for Auto
“The client had specified that no large augmented by 22 UPA-1P loudspeakers placed system during the press events. Shanghai in April.

No Squints Allowed: ProAudioSpace Debuts Shure Files for Petition

continued from cover
‘sound’ and came up with only about 15% lisher Terry Lowe. “But these things do tend We are proud to be able to bring this kind
for Reconsideration on
of the total membership. So we decided a
totally audio-focused network was needed.”
to take on a life of their own and both the
breadth of the ‘conversation’ and level of ac-
of community building tool to the live event
audio and theatrical install worlds.”
White Spaces
ProAudioSpace went live about a month tivity have exceeded our most hopeful esti- If you have not joined, just go to continued from cover
ago and had signed on 1000 members in its mates. ProAudioSpace really does realize the www.ProAudioSpace.com/join and see- environment is a matter determined by the
first 50 hours. potential of an online destination for audio what’s happening. And watch for new specific details of the FCC’s rules and whether
“We started some groups and forum pros. Instead of being a place where users are stuff including live trade show covage the rules provide sufficient protection when ac-
threads to get things going,” said FOH Pub- simply fed info they can get in many other and some engineers who are brave tually implemented in real world environments.
places, ProAudioSpace members are sharing enough to blog the tours they are on. It is critical that the FCC’s technical and opera-
tips, asking questions and getting answers. tional rules — including pre-certification test-
ing rules — “get it right” before mass produced
equipment is pushed into the market.
Toward that end, Shure urged the Com-

Horizontal Dispersion Key to Upgrade mission to impose rigorous certification test-

ing, open to the public, on hybrid geolocation/
sensing devices. Shure also sought reconsidera-
At Ringgold Baptist Church tion of the FCC decision to permit portable de-
vices to operate on first adjacent channels. At a
RINGGOLD, VA —With a history that high frequency drivers and six bass drivers. minimum, the FCC should reduce the allowable
dates back to 1876, Ringgold Baptist Church In terms of performance, “the X3i-P turned power of TV band device (“TVBD”) operations
has a diverse congregation and a variety of out to be ideal for this sanctuary. The system on adjacent channels.
ministries guided by Pastor Dr. Steve Ellis. has the throw to cover the entire room and In order to prevent devastating interference
The church chose Big Sound Productions to its broad 160-degree horizontal dispersion to wireless microphones, Shure urged modifica-
overhaul the sound reinforcement system in could not be better for this space. No mat- tion of several technical and behavioral rules:
its sanctuary using a TrueLine X3i-P line array ter where you sit, sound quality is consistent, • TVBDs must demonstrate that they maintain
system from WorxAudio Technologies. speech intelligibility is clear and natural, and sensitivity to the -114 dBm level in the presence
“The sanctuary at Ringgold Baptist Church the music reproduction characteristics of the of strong signals on adjacent channels, a com-
is approximately 80 feet long by 45 feet wide, system are very musical. With the front row of mon scenario in real world operations
with a sheet rock ceiling at a height of 21 feet,” the congregation positioned approximately • In-service monitoring requirements should be
said Chuck Eskey, owner of Big Sound Produc- six feet from the edge of the stage, I was ini- revised to require rechecks every 10 seconds
tions, who is pictured here with the installed tially concerned about the volume up close. • A 60 minute non-occupancy period should be
gear. “The space provides fixed pew seating As it turns out, the level is well balanced from adopted for TVBDs
for approximately 300 people and worship front to rear—without blasting those seated • High power fixed TVBDs should be required
services are fairly traditional in nature—with in the front rows.” to avoid a 2 kilometer protected zone around
music provided by choral, piano, or or- wireless microphones
gan performances. The stage/altar area • Geolocation databases should synchronize at
faces into the length of the room. least once an hour
“Speech intelligibility and the • TVBDs should be required to access the data-
ability to accurately reproduce music base and confirm frequency availability in real-
were key considerations in the selec- time or near real-time
tion of the upgraded audio system,” • The period of time that TVBDs may continue
Eskey added. “Of equal importance, a operating after losing contact with the data-
clear line of sight to the stage from any base should be reduced from 24 to 4 hours
seat in the sanctuary—free from visual Finally, Shure urged the FCC to make clear
obstructions caused by loudspeaker that TVBD manufacturers, TVBD users and da-
enclosures—was deemed essential. For tabase administrators may not pick and choose
this reason, I determined that a central- which wireless microphone operations to pro-
ly-positioned line array system made tect from TVBD interference based on micro-
the best choice for this space.” phone application, power level, license status
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The TrueLineX3i-P line array, an “all- or any other characteristic. Shure said that to
in-one” line array system incorporating do otherwise would abrogate the Commission’s
three modules, each with a medium commitment in this proceeding to protect in-
format, 1-inch exit compression driver cumbents and harm an important and vital
that is paired with dual 8-inch cone technology critical to many sectors contrary to
transducers, is painted white to match Chuck Eskey, owner of Big Sound Productions, with the installed gear the public interest.
the room’s décor. The system uses three from WorxAudio Technologies.

6 APRIL 2009 www.fohonline.com

Ad info: http://foh.hotims.com/
 News

AES Opens Call For Paper Proposals Steve Miller Band ME

NEW YORK — In a continuing effort to ex- sources beyond traditional academia,” Steven 50 to 250 attendees followed by brief Q&As, Finds Room to Roam
tend the scope of AES Convention Technical Garrett said. “Our goal is to cover as many cat- or as poster sessions, which are detailed pre-
Papers, Committee Chair Agnieszka Roginska egories and issues as possible and, to develop sentations designed for greater interaction with New Console
and Papers Sessions Co-Chairs, Veronique a singularly comprehensive and authoritative between the author and groups of 12 to 15
Larcher and Steven Garrett have issued an catalog.” members.
open call to the professional audio commu- “In addition to sharing knowledge and Papers topics are open to the following
nity for technical papers proposals. The dead- opening constructive dialogues on issues categories: Applications in Audio; Audio
line for abstracts is June 5, 2009. which impact on the professional audio com- Processing; Recording Production and Re-
“The volume of Papers submissions is al- munity, presenting authors will have their pa- production; Audio Equipment; Perception;
ways high,” Larcher said. “However, by casting pers included on the CD-ROM of the full Pa- Emerging Audio Technologies. For details
our net to a wider segment of the industry pers / Posters Program, and student members on submission requirements visit www.aes.
and educational sector we hope to expand will be eligible for the Student Paper Award,” org/127th_authors.
our program by adding worthwhile subjects said Roginska. The 127th Audio Engineering Society
which may not be on the universal radar.” Papers are presented in two distinct for- Convention will be held Oct. 9 – 12, 2009 at
“Meaningful papers can originate from mats — formal lectures before an audience of New York’s Jacob Javits Convention Center. Ira Malek with Yamaha’s PM5D

SAN FRANCISCO — Ira Malek, moni-

Delta Music Institute Opens with Peavey Endowment

tor engineer for the Steve Miller Band,
has been using a Yamaha PM5D on the
2008 tour, and will be doing so again
CLEVELAND, MS — Peavey Electronics department, providing students with an star Energy Drink Mayhem Tours and the when the band hits the road this May.
has endowed a major musical-equipment opportunity to work with the latest sound 2008 Tim McGraw Live Your Voice tour. The 2008 tour focused on every
grant totaling $60,000 to support curricula reinforcement technology. Students in the The endowment also includes a Peavey aspect of Steve Miller’s multi-faceted
at the Delta Music Institute, a center for in- Delta Music Institute demonstrated the gear 32FX analog mixer with fully digital pro- music, from solo acoustic numbers and
terdisciplinary studies in the music and en- during its grand opening celebration, held cessing; Peavey QW and SP Series moni- hard driving Chicago Blues, to R&B and
tertainment industries at Delta State Univer- March 7 and 8 on the campus of Delta State tors; Peavey VSX loudspeaker manage- his own classics, always including his top
sity. University in Cleveland. ment systems; Feedback Ferret processors 10 hits, “The Joker”, “Rock ‘n Me”, “Fly Like
“The music of the Mississippi Delta has “We are very grateful to receive such with patented feedback elimination tech- An Eagle” and “Jet Airliner.”
influenced countless musicians around the generous support from Peavey Electronics,” nology; assorted cabling; and an array of For this year’s tour, the Steve Miller
world, and it inspired my lifelong passion said Walker. “As one of the world’s largest microphones that will pull double duty in Band will be featuring blues singer Sonny
for making the tools that allow us to create makers of musical equipment—not to men- the DMI’s studio program. Charles, Norton Buffalo (who’s been with
music,” said Hartley Peavey, founder and CEO tion a technology leader with more than 180 “Building on the tradition of Missis- Steve for over 30 years) on harmonicas,
of Meridian-based Peavey Electronics Corp. patents to its credit—Peavey stepped up sippi’s undeniable musical history, this gift Kenny Lee Lewis on guitars, Billy Peter-
“I hope that this endowment will act as a with a complete sound-reinforcement pack- will support the creative dreams of the son on bass, Gordy Knutsen on drums,
bridge to link the rich musical legacy of the age that will be instrumental in our students’ next generation of young musicians,” add- and Joseph Wooten on keyboards.
Delta region to the next generations of mu- success at the Delta Music Institute.” ed Walker. “The Delta Music Institute, with With most of his mix years spent at
sic professionals.” The endowment includes a sound-re- its entrepreneurial and interdisciplinary front of house, Malek began using a Ya-
Music-industry veteran Tricia Walker, inforcement system featuring the Peavey approach to studying the music and en- maha PM5D when it first became avail-
director of the Delta Music Institute, said Versarray line-array loudspeaker system, tertainment industries, serves to advance able for a Good Charlotte show in New
that the Peavey endowment would bol- the ribbon-loaded, high-fidelity sound the musical culture that is alive and well in York’s MTV’s Studio.
ster the program’s live audio production system used on the 2008 and 2009 Rock- Mississippi.” “There is always something new to
learn on the PM5D, and when I find a new
function or technique, I like to teach it to
Christ’s Church Crew Uses Digital Mixing System for Multiple Worship Styles a bunch of guys who are avid 5D users,”
Malek said. “For example, you can’t really
use, according ship band includes three electric keyboards, store a song per scene on other consoles
to Worship Re- an acoustic piano, two or three acoustic for a seasoned rock band because the
sources owner guitars, two electrics and a bass guitar. The dynamics are making you work the desk,
Tom Rutledge. drumkit consumes 12 channels, while the not the scene. With PM5D Version 2 soft-
“Previously, 60-voice choir is handled by four overhead ware, I am able to go to the mixer’s set
the sanctuary mics. The worship leader and a praise team up and set it up to whatever I may need,
had an ana- of up to eight vocalists are all on wireless making it that much more musical. The
log console,” handhelds. console doesn’t limit me.”
Rutledge said. An added input card at the iLive control
“But with this surface handles the nine wireless receivers
change, Sun- located at FOH, plus inputs for audio from
day mornings computers and iPods. All other inputs go to easy, and we didn’t have to go out and rent
would now a patch bay co-located with the iLive rack any outboard gear. Everything we need is
have two re- and amplifiers behind the stage. already there, inside the iLive, and it sounds
hearsals back to “To handle two entirely different bands, incredible. In fact, we don’t even have an
back, then the we actually have 65 inputs coming off the outboard effects rack anymore. That’s when
services them- stage,” said Rutledge. “So we added a patch I realized how great this console is.”
selves. Going panel, which feeds into the 40 iLive inputs. Backstage, the iLive rack houses five
Nate Grella, Technical Director, and Jonathan Mac, Assistant Technical Director with an iLive That gives us the flexibility to reset the en- 8-channel input modules, one 8-channel
at Christ’s Church with the iLive-144. digital console tire stage in just 15 minutes between ser- output module, and the 16-output Aviom
MASON, Ohio — The weekly services was the best way to handle multiple styles vices.” module. On the output module, three of
at Christ’s Church have distinctly different of worship with fast changeovers.” Monitoring is a mixed affair. The praise the eight channels send the left-right-sub-
styles — traditional, contemporary and After test-driving all the major models team vocalists use floor wedges, while the woofer information to the main PA, a dual-
blended. The church’s 1,300-seat sanctuary that fit their budget, the church selected worship leader uses a wireless in-ear sys- array QSC WideLine8 system.
was recently renovated with a new sound the Allen & Heath iLive-144. tem, all mixed at the iLive control surface. The other outputs carry separate moni-
system to handle the contemporary and “We did demos of a lot of different The worship band monitors via an Av- tor mixes to the floor wedges, each fed by a
blended services, and a smaller chapel was boards, and the ease of learning on the iLive iom system, which receives 16 channels separate Aux output. The Aux system is also
built to handle the traditional service. just jumped out at me,” said Nate Grella, from the iLive control surface via DCA used to feed the worship leader’s in-ear
The church’s leadership brought inte- technical director at Christ’s Church. “More groups via the iLive’s optional Aviom out- mix, an assistive listening system, a video
grator Worship Resources in to develop than anything else, that’s what sold us. It’s put card. This allows the musicians to create record feed.
an appropriate audio design, and Allen & so user friendly. You just select the channel their individual mixes on stage. “Before this, we had a really good-
Heath’s iLive-144 digital mixing system was you want and everything is right there for The iLive’s comprehensive DSP power sounding analog console,” Nate Grella said.
chosen to handle FOH and monitors for the you. The touchscreen lets you see what’s makes it easy to handle touring artists and “Once we decided to digital, it was a matter
larger sanctuary. happening as you change EQ, for instance, special events as well. of finding all the features we needed with-
With a volunteer technical staff and a which makes it easy to grasp. The iLive “For one event, we had five different out compromising in sound quality. The
large musical presentation, it was essential made training our volunteers a lot easier.” bands on the same night,” recalled Nate Allen & Heath iLive did that for us, and we
that the new console be easy to learn and For the contemporary service, the wor- Grella. “Changes between acts were fast and couldn’t be happier.”

8 APRIL 2009 www.fohonline.com

 News

New System Gives Northeast Church an Audio Edge

artists including Stellar Karts, War of Ages and drivers in a band-pass configuration. The FBT Call it a pet peeve but, as Brian says, “I am a
Brad Stine have performed at Northeast. PSR 118’s use single 18” speakers. Six FBT Verve stickler for accuracy and truthfulness in a manu-
The main system is comprised of two Mo- 8M loudspeakers serve as front-fill and, due to facturer’s literature and specifications. Embel-
dus 40 (one per side) with Modus Subs flown their small size and pole mount capability, can lishment and hype have no place in professional
above. Four PSR 118S sub woofer cabinets’ lie be used as a separate system when needed. audio specifications. I have seen this become an
on the deck for additional low frequency cover- Two additional FBT Verve 8Ms are located in the obstacle for church sound and lighting systems
age. The rig is configured as a four-way system balcony to give left and right audio to that area. where you have lay people making expensive
and uses QSC RMX 5050 power amplifiers and The decision to install FBT products came decisions. The FBT products not only sound
Biamp processing. after several shoot-outs and product demon- great, but performed as their specs stated they
The Modus 40 is a curved box that essen- strations from other speaker brands. CYM Pro- would and I really respect that.”
tially groups separate line array components ductions oversaw the sale to the church. Brian Northeast Church prides itself on being a
(8x8” drivers and 8x1.7” compression drivers) Belcher is the Technical Director at the church bit on the unconventional side and its congre-
into a single enclosure no bigger than one and has also worked in the pro audio industry gation supports their message. As Belcher says,
traditional two-way horn enclosure to provide for many years. He has handled installations “This church is a great place and we are growing
90-degree horizontal and 40 degree vertical at many churches throughout his career and, like crazy. We are not your normal church; every
coverage. while equipment selection may vary, one Sunday is a concert with a message surrounded
The Modus Sub cabinet houses dual 15” benchmark has remained. by technology. A very, very large message!”

The new FBT Modus sound system is for worshippers who

prefer a little SPL from above.

HENDERSONVILLE, TN — Northeast Church

(www.godwhy.com) has installed a new FBT
sound system for their main sanctuary. Lo-
cated on the northern outskirts of Nashville,
the church attracts a diverse group of visitors
who like their church services to have some SPL
mixed in with the message from above.
A 10- to 12-piece band playing contem-
porary music with a wide dynamic range aug-
ments services. In addition to the regular ser-
vices, a youth outreach program called “Gas
Station” hosts concerts featuring both local
talent as well as national touring acts. Christian

LMG Celebrates 25
Years; Launches New
Web Site
ORLANDO — LMG Inc, a national pro-
vider of video, audio and lighting sup-
port, celebrated 25 years of business and
launched a new Web site at www.lmg.
net to showcase its legacy businesses —
show technology and systems integration
— and herald its newest division, concert
touring.
Founded in Central Florida by Les
Goldberg in 1984, and originally situated
in a home office, LMG today employs over
170 personnel, operating in over 200,000
square feet of space across three national
locations: Orlando, Phoenix and Las Vegas.
In the first decade, the company fo-
cused on video equipment rental services,
but, as the industry grew, LMG has expand-
ed its offerings to include full service sup-
port — video, audio and lighting — across
all the business units.
“With 25 years of experiences on
shows and projects of all types, we want
to convey to our clients that we go beyond
simply delivering boxes of gear,” said Gold-
berg, CEO and president. The company has
adopted a new tagline, “beyond technol-
ogy,” to emphasize the importance of ser-
vice and support.
The redesigned Web site highlights the
three branches of the company’s business:
Ad info:http:// foh.hotims.com

show technology, systems integration and

touring. It “offers visitors a clear path to all
of our divisions, and allows the spotlight
to shine on our newest offerings, such as
touring, as well as the phenomenal growth
of systems integration over the last de-
cade,” Goldberg said.

www.fohonline.com 2009 APRIL 9

 News

Nickelback Returns with New CD, Tour and Console

“I first used a DiGiCo console on A Per- his previous settings. And as stated, this
fect Circle tour in 2003,” Mule’ recalled. “I console handles the ‘oh-by-the-way’ situ-
thought I was using a Midas until I was ations with ease.”
told we’d be using a DiGiCo D5… I had a The SD7’s built-in processing enables
day to learn it before the band walked in. the work surface to come already loaded
Needless to say, I was very impressed and with features including 4-band parametric
from there and have used one (whenever EQ on every input and output and its dy-
possible), on tours with Aerosmith, Eva- namics allow for every input and output
nescence, two Cyndi Lauper tours, Engel- to operate as a full multi-band compres-
bert, and now on two Nickelback tours. sor… none of which was lost on Mule’.
The SD7 is a natural progression for me, “Let’s face it, if you need to augment
having worked on a D5. I truly believe this your console with plug-ins to make it
is the best sounding, standalone digital sound good, what’s the point?” he said.
console on the market.” “I’m old-school in the fact that we try to
In a training session with Matt Lar- get everything to sound good from the
son, DiGiCo’s pro audio national sales source and not have to overcompensate
Monitor Engineer Mike Mule’ has been using DiGiCo since 2003, and started with Nickelback in 2005. manager, and the Clair Global crew in the with EQ and dynamics. I use them where
Nashville office, Larson walked the guys needed and try not to load every channel
NASHVILLE — Nickelback is returning Mule’—who has amassed over 25 years of through some of the nuances of the new up with unnecessary ‘signal diminishers.’
with a tour to support their new album, Dark mixing credits with groups ranging from Dash- console. That makes the amazing dynamics, such
Horse, and a new console, DiGiCo’s SD7, speci- board Confessional and Rush to Van Halen and “Matt gave me some pointers on as comps and gates on this console, that
fied by monitor engineer Mike Mule’, who has Whitesnake—started with Nickelback in 2005 some of the new features, like being able much more ‘un-noticeable’. The EQ section
used DiGiCo D1s and D5s on previous tours. on the band’s “All The Right Reasons” tour. to structure your mixes and how to as- is amazing. There’s no plus- or minus-18
sign the MADI racks now that there are going on, if you know what I mean. The
no socket files in the software. DiGiCo changes are small and precise.”
obviously took recommendations into Additionally, the big-features-to-
consideration with the new console, like small-real-estate ratio is definitely an add-
having graphic EQs pop up when you solo ed bonus. “I get a feed from video world
a mix.” that pops up on my console that enables
On the current tour, Mule’ is handling me to see the stage from my monitor
over 50 inputs coming off the stage, in- world. It’s great in the fact that it elimi-
cluding eight vocal channels, two drum nates yet another piece of gear such as an
kits and various electric and acoustic external video monitor. “But beyond that,
channels among other things. because I’m handling in-ear mixes, there
“With 8 vocal positions around the are now no racks of comps and gates and
stage, it was important to grab the main FX. Just my console, the split, the Madi
vocal dynamics, EQ and sends and spread racks and my RF rack. I fit in a small 8x8’
them to the other positions and be able to world under the stage left wing.”
follow around [lead singer] Chad Kroeger But perhaps the biggest boon to Mule’
and [lead guitarist] Ryan Peake with their is the feedback from the band—or rather,
own distinct settings to any mic they walk the lack of it.
up to. “Daniel Adair, Nickelback’s drummer
Ad info:http:// foh.hotims.com

“Also, allowing me to configure my commented to me, ‘Not that the monitors

console when needed is a big help with ever sounded bad ‘cause they have always
opening acts and when the ‘oh-by-the- been good, but… what the hell have you
way’ changes come,” Mule’ added. “A case done? It sounds amazing up here!’ The
in point was with opening act Saving other band members haven’t said much,
Abel, who started on wedges and then which means they are extremely happy.
brought in an in-ear package. We were And that that’s really what it’s all about,
able to reconfigure the console and add giving your band one less thing to think
all the new mixes and arrange them to about when they are onstage. That means
the engineers liking without losing any of everyone else down the line is happy.”

Bob Heil Visits Full Sail University

WINTER PARK, FL — Full Sail Univer-
sity’s Show Production & Touring and
Recording Arts students got a chance to
meet Heil Sound’s Bob Heil, who visited
the campus recently to give students a
first-hand account of the evolution of au-
dio technology.
Heil spoke, for example, about the
quadraphonic mixer he made for The
Who’s Quadrophenia tour, the power
amplifiers he tweaked while touring with
the Grateful Dead, fiberglass speakers,
mixers and the Heil Talk Box he originally
designed for fellow ham radio enthusiast
Joe Walsh of the Eagles. Bob Heil’s visit gave students a chance to hear how audio
technology evolved.
Heil, who has also worked with Pete
Townsend, Jerry Garcia, Stevie Wonder, Joan Baez, Peter Frampton, Jeff Beck, Paul Rod-
Ad info:http:// foh.hotims.com

gers and Tool, spoke about the launch of the new Heil microphone and how the tech-
nology could impact students.
“You would think that I would go lay down after all these years, but I start it all back
up again on the other end of the cable,” Heil said, “on the microphone end.”

10 APRIL 2009 www.fohonline.com

 International News

Mexico’s Auditorio Nacional Installs 60 New MILOs

MEXICO CITY — The Auditorio Nacional, changeovers. With our MILO system in-house, force the live orchestra at Tchaikovsky’s Nut- rio Nacional opened in 1952 and originally
which was named in the top slot in Billboard’s we will save time, cut costs to the promoter, cracker ballet. “The sound was just fabulous,” served as a multi-use facility with open floor
Touring Awards in 2007, and topped Pollstar’s and guarantee ample power with superior said Giancola. “You could go to the very back space for accommodating conventions and
rankings of theatres and auditoriums by post- quality. This system is substantially more and still hear a presence that you’d normally sporting competitions.
ing total ticket sales of over 995,000, isn’t rest- powerful than any other outside rentals that get only right up front. It’s fantastic. I think ev- In 1991 it was rebuilt to serve as a theatre
ing on its laurels. have come through.” erybody will be very, very happy with it. and auditorium for the performing arts. The
The venue recently added 60 Meyer The new MILO system can be flown in “When you consider the stature of shows varied program schedule includes a wide
Sound MILO line array loudspeakers, giving eight different configurations and precisely booked in here, we cannot afford to use any- range of Latin American and international
it bragging rights as the largest MILO system aligned using the SIM 3 audio analyzer, ac- thing but the best equipment,” Giancola add- artists representing dance and drama as well
owned by any theatre or auditorium. commodating both flown and ground- ed. “That is why we chose Meyer Sound MILO. as pop, rock, classical, and operatic music.
The Auditorio seats an audience of nearly stacked subwoofers. “Everything is recorded Our insistence in quality has placed us among The Auditorio started using Meyer Sound
10,000 and is the largest secular auditorium as a preset in the Galileos,” explains Giancola, the top venues in the world, and this new sys- systems in the early 1990s. Through the years,
in the western hemisphere. Size and techni- “so the system can be rigged to meet staging tem allows us to maintain that reputation. It is artists who have performed at the Audito-
cal standards have drawn productions to the requirements for any show. We can quickly certainly a strategic investment for the future rio include Robert Plant, Sting, Norah Jones,
venue, which more than 260 events booked hang it, hit the preset in Galileo, and it’s in- of Auditorio Nacional.” Pet Shop Boys, Rod Stewart, Elton John, Ale-
annually. stantly aligned for the perfect sound.” Designed by architects Teodoro González jandro Sanz, Cranberries, Joe Satriani, and
According to Mark Giancola, production The new system was first used to rein- de León and Abraham Zabludovsky, Audito- Barry Manilow.
manager, the Auditorio picked the MILO sys-

With 60 Meyer Sound MILO loudspeakers, the venue has the

largest MILO system yet.
tem on the basis of its sound quality, appli-
cation flexibility and support from the com-
pany. “We present everything from pop and
rock to jazz and classical, so we needed one
system that has been proven over and over to
be successful with all types of music,” he said.
“The MILO has certainly done that.
“The service has been absolutely first-
rate,” Giancola added, saying that Antonio
Zacarias, Meyer Sound’s director of Latin
American sales and his team of highly-trained
technical services staff, has “given us incred-
ible support. They’re always right there when-
ever we need them.”
The new MILO-based system was config-
ured by Meyer Sound Mexico’s design servic-
es department headed by Oscar Barrientos,
following specifications outlined by the Audi-
torio’s own production staff.
The new system will not be permanently
installed, but rather will be available as an
in-house rental that can be quickly flown
and precisely optimized for any type of pro-
duction. The base configuration includes 38
standard MILO loudspeakers, 20 MILO 60 nar-
row coverage loudspeakers, and two MILO
120 wide coverage loudspeakers, as well as
28 700-HP subwoofers and frontfill of eight
UPA-1P loudspeakers. A Galileo loudspeaker
management system comprised of two Gali-
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leo 616 processors provides drive and pro-

cessing.
“Many shows were bringing in their
own line array systems,” Giancola said, “but
that could be problematic because our busy
schedule requires so many back-to-back

www.fohonline.com 2009 APRIL 11

 s weN lanoitanNews
IInternational
nternational retnI

Adlib Improvises with Flexible Gear for Kaiser Chiefs “Off With Their Heads” Tour
EQ and crossovers. The crew used a Mey- A custom amp rack dolly, which
er SIM 3 machine for additional EQ, time housed eight amp racks, helped speed
alignment and fine-tuning. the load-ins. It was simply forked out of
Adlib also had the opportunity to the truck and deposited stage right every
road test the new Lab.gruppen PLM14000 day.
amplifiers, complete with onboard Lake Over in Monitor world, Kaisers en-
processing, which were used to drive the gineer Ilias Adrianatos used 13 d&b M2
VerTec subs. As a result, they are buying wedges, with keyboardist Nick “Peanut”
12 of the two-channel versions they had Baines and drummer Nick Hodgson on a
on the tour. “Unlike most of the competi- Sennheiser G2 IEM system.
tion, they do exactly what it says on the Adrianatos mixed through a DigiDe-
tin,” said Szabo — “deliver 7000 Watts into sign Profile — currently also Peers’ favor-
2 Ohms per channel and make the subs ite desk — which worked well for some of
sound simply amazing.” the smaller venues in Europe where stage
Leckie’s preferred console is currently space was tight.
Adlib’s custom-designed amp dolly helped with load-ins and a JBL VerTec line array fit well with different-sized venues. the Soundcraft Vi6, and he used most of Adrianatos ran 12 mixes, including the
the onboard processing and effects facili- band’s IEMs, and made use of the Profile’s
LONDON — Adlib Audio continued noted. ties, adding a personal collection of Alesis onboard effects and processing. Lead
their ongoing relationship with UK indie The tour includes a total of 60 VT4889 midi-verbs. He uses these to get the vin- singer Ricky Wilson also had an IEM set-
rockers the Kaisers Chiefs, supplying all mid hi cabinets for the arena leg, together tage rock sound that characterizes much up at FOH for his customary appearance
sound equipment and crew for the band’s with 16 of the updated VerTec 4880A subs of the Kaiser’s music. out there towards the end of their sets.
latest arena leg of their “Off With Their and 16 of the new L-Acoustics SB28 subs. The key sonic aims are to produce a The Kaisers like it loud onstage, and
Heads” world tour. The L-Acoustics SB28 formed a solid ground suitably loud and visceral experience for to ensure there were no issues there, the
Adlib’s systems tech Tony Szabo has stack while the Vertec subs were flown. everyone in the room, and also for the side fills were made up from three flown
worked with the band and FOH engineer A typical configuration was 16 deep quirky and intelligent lyrics to sit clearly ARCS boxes per side and two SB28 subs
Chris Leckie since Adlib first won the VT4889s for the front hangs and 14 for and intelligibly on top of the mix. on the deck.
sound contract in 2007. the sides, with eight flown VerTec subs Adlib supplied a Yamaha M7CL con- “It’s always good working with Chris
Leckie once again specified a JBL per side. sole for the support acts. and Ilias,” said Peers. “They are working
VerTec line array, known for its reliability Both L-Acoustics ARCS and dVDOSC “It’s all gone extremely smoothly,” engineers, they know what they want and
and light weight, helping it adapt to some boxes were used for front fill along with said Szabo, who worked alongside fellow get involved in setting up and breaking
of the smaller venues on the tour. “We can Adlib’s standard-issue Lake processing via Adlibbers Richy Nicholson, Declan Fyans down each day. They have our absolute
get 11 cabinets on a 1 tonne point,” Szabo wireless tablet remote, which did all the and monitor babysitter Marc Peers. respect.”

On the Move

L-Acoustics named Paul Tillman Nguyen has been named sales and mar- erated his own
and Dave Weidenhoffer, both former L- keting coordinator, and Annette Bilous production
Acoustics reps, regional sales managers. has joined the organization as adminis- company, Para-
Tillman, a principal with Champion En- trative assistant and receptionist. dise Production
terprises, will continue to operate out of Services, and
Eagan, Minn. and service the company’s Sensaphon- was responsible
customers in the Northeast. Weidenhoffer ics founder and for installations
will focus on sales in the Southeastern president Mi- including Mi-
New faces at L-Acoustics. From left, Annette Bilous, U.S. L-Acoustics also announced that Jan chael Santucci, ami, Florida’s
Jan Nguyen, Dave Weidenhoffer and Paul Tillman Au.D., has been Club Space, Carlos A. Henao
named to the Club Level, and Prive, as well as the Jet
board of trustees Lounge in New York. Henao also spent 10
of the American years as the production manager / audio
Academy of Audi- engineer for Grace Jones, handling a vari-
ology Foundation ety of duties for her performances world-
(AAAF). The foun- Michael Santucci
wide. He has also worked as a program-
dation, which mer / audio technician at the Las Vegas
supports numerous education, research Hilton, where he mixed production shows
and public awareness initiatives, raises and bands and oversaw the installation,
funds through corporate partnerships, programming, tuning, and maintenance
conferences, trade show events and other of the facility’s audio, lighting, video and
activities in support of its mission. automation systems.

Shure Inc. Wireless Solution Sweden AB has

named Fred named three new people for its R&D team.
Sicko sales Mats Jonsson has been appointed the
manager of the new CTO, and will manage software de-
company’s Eu- sign projects for the company. The com-
ropean, Middle pany also added Kjell Johanesson, a radio
East, and Africa engineer formerly with Ericsson and GSM
(EMEA) business Networks, and Willhelm Alhgreen, who
unit. Sicko pre- will be responsible for hardware design.
viously served
as sales manag-
er at Shure Dis-
Fred Sicko Where’s your
tribution GmbH for seven years. ugly mug?
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D.A.S. Audio appointed Carlos A. We can only tell the world if

Henao to the position of sales and tech-
nical support. Henao served as both FOH
you tell us. Send your pho-
and monitor engineer for a number of tos and news of your new
touring acts throughout Latin America and gigs to pr@fohonline.com.
Europe. For the past 20 years, Henao op-

12 APRIL 2009 www.fohonline.com

Ad info: http://foh.hotims.com/
 Showtime
T.I., Keri Hilson, Play-N-Skillz ST

Venue GEAR
Santa Ana Star Center FOH
Rio Rancho, N.M. Console: Digidesign Profile MON
Speakers: 16 JBL Vertec 4889, Console: Allen & Heath ML-5000
4 Meyer MSL-4 Speakers: 16 Meyer UM-1P, 4 Meyer
CREW MSL-4
FOH Engineer: David Buehler Amps: 20 Crown iTech 6000
Processing: dbx 4800 Processing: dbx 2231
Monitor Engineer: Simon Welter
Systems Engineer: David Buehler Mics: 8 Shure UHF-R, Shure &
Soundco FOH System Techs: Ryan Youngblood, Sennheiser wired mics
Audio Steve Poulton, Mark O’Connell, Power Distro: Nutech 200 amp
Excellence Chris Pacheco Rigging: CM Lodestar
Breakout Assemblies: Whirlwind
Snake: Whirlwind Concert 56

ST TNT NBA Party with Maroon 5

Venue FOH System Techs: Andre St Pierre, Breakout Assemblies: Whirlwind

Corona Ranch Michael “Woody” Woods Snake Assemblies:
Laveen, Ariz. Whirlwind 56x16
GEAR
CREW FOH MON
Console: Yamaha PM5D Console: Yamaha PM5D
FOH Engineer: Jim Ebdon,
Speakers: 12 L-Acoustics V-DOSC, Speakers: 12 Martin Audio LE700, 4
Andre St Pierre
Martin Audio FI, Martin FSX, JBL VRX
Monitor Engineer: Woody and 12 L-Acoustics SB-218
Amps: Lab.gruppen, Crown drum sub Soundco
Woody
Processing: XTA DPA 226 Amps: Crown 2402, M5000 Clearwing
Systems Engineer: Andre St Pierre
Mics: Shure, Sennheiser, AT Processing: Ashly Productions
Production Manager: Brad
Power Distro: Motion Labs PMs: Shure, Sennheiser, AT AZ LLC
Greenburg, Gary J Brunclik
Rigging: CM Lodestar Power Distro: Motion Labs

Canadian National Aboriginal

ST
Achievement Awards

Venue GEAR
Winnipeg Centennial Concert Hall FOH MON
Winnipeg, MB Canada Console: Yamaha M7CL-48, Consoles: Yamaha PM5D
Yamaha LS9-32f Speakers: 6 Electro-Voice XW12,
Speakers: 24 Electro-Voice XLD, Sennheiser G2 RF with Shure E4 PMs
CREW Amps: QSC
FOH Engineer: Ian Dunbar 4 Electro-Voice X-Array B,
Monitor Engineer: Geral Sawchuch 6 Electro-Voice ZX1
Soundco Production Manager: Carl Noordover Amps: Electro-Voice P3000RL,
Sound Art (technical producer) Electro-Voice TG-5
Canada FOH System Techs: Iain Graham Processing: Electro-Voice RCM-26
(system), Ian Skrabek (wireless)
Ad info:http:// foh.hotims.com

14 APRIL 2009 www.fohonline.com

 ST Rock Ethos 2009

Venue GEAR MON

Palace Grounds FOH Console: Soundcraft MH3
Bangalore, India Console: Soundcraft MH3 Speakers: JBL VRX 915M, JBL VRX
Speakers: JBL VerTec VT4889, VT4880A 932LA & VRX918S for side-fills
& JBL CSR Subs Amps: Crown iTech 4000
Mics: AKG WMS4000, AKG Drum Set II,
CREW Amps: Crown iTech 4000, 6000 & 8000
Processing: Dolby Lake Processor AKG D112, C418M, C451B
FOH Engineer: Vishnu P.
Mics: AKG D5 Power Distro: Custom-made by V&P
Monitor Engineer: Mallesh T.
Power Distro: Custom-made by V&P Sound Pvt. Ltd.
Systems Engineer: Ganesh S.
Production Manager: Shivaram Prasad Sound Pvt. Ltd. Soundco
FOH System Tech: Anand S. Rigging: Hookcraft Scaffold with V&P Sound
Stagemaker Motors Pvt. Ltd.
Breakout Assemblies: Klotz
Snake Assemblies: Klotz

Planet Wisdom Conference

ST
2009 with Dutton

Venue GEAR MON

Winnipeg Convention Center FOH Consoles: Hear Technologies 16
Winnipeg, Canada Console: Midas Verona 560 Channel Hear Back
Speakers: 8 OAP CPX1250, 8 OAP Speakers: OAP Wedges, Westone
TR-218 subs PMs, Sennheiser Wireless
Amps: QSC
CREW Amps: QSC
FOH Engineer: Daniel Ellis Processing: Ashly Protea
Soundco Monitor Engineer: Cory Fournier Mics: Shure 57s and 58s, Audix drum
B&L Sound Systems Engineer: Daniel Ellis mics, Heil PR22 for lead vocal
and Lights Production Manager: Brian Barth Power Distro: B&L Sound custom
Tour Manager: Mike Work Snake Assemblies: Ramlatch
FOH System Tech: Brian Barth

Natalia Lesz Poland Tour 2009 ST

CREW
FOH Engineer: Arek Wielgosik MON
Speakers: Sennheiser PMs, d&b Max
Monitor Engineer: Krzysztof Polesinski
Amps: Powersoft Q4004 We
Systems Engineer: Arek Wielgosik
Processing: XTA DP 448
Want You!
Production Manager: Jarek Urbanski
Mics: Shure, Sennheiser, AKG, FOH wants your gig
Tour Manager: Pawel Pyzinski
Neumann shots, horror stories and
FOH System Techs: Sebastian Zalewski resume highlights! Go to
Power Distro: ABL
www.fohonline.com/submissions
Soundco to send us your Showtime pics,
GEAR Nightmare stories and In The
Airpol Sound
FOH Trenches stats. Or e-mail
& Light
Console: Yamaha Pm5d Rh
pr@fohonline.com
Speakers: Meyer Sound MSL4
for more info. We cover the
Processing: Galileo industry
Mics: Shure, Sennheiser, AKG, Neumann
Power Distro: ABL — and that means
Snake Assemblies: Klotz you!

Ad info:http:// foh.hotims.com

www.fohonline.com 2009 APRIL 15

 New Gear

Musikmesse 2009: A Mess of New Audio Tech

AKG LC Condenser
Microphone
Designed for a wide range of applications ranging
from vocals and live sound to recording and studio use,
AKG LC features an XLR connector module with 24-carat
gold plated pins for optimized connectivity, as well as
resistance to corrosion and humidity. Additionally, the
LC features a spring steel wire-mesh grill for extreme
ruggedness offering reliable control of pops and wind
noise while an artist is on stage.
Standard accessories are the PB 1000, which adds
3 to 5 dB of high-end enhancement between 5 and 9
kHz for improving clarity of each voice, a protective mic
case and the stand adapter SA 61.
www.akg.com

BSS Break-Out Box

BSS Audio’s newest
break-out box, the BLU-
BOB, has eight analog au-
dio outputs on standard
terminal block connectors
and a 256-channel digital
audio bus. DIP switches
on the rear of the BLU-BOB
device give users a way to
select consecutive chan-
nels, in groups of eight,
The 2009 event proved that product innovation can weirdly co-exist with a crappy global economy. from the digital audio bus.
Multiple BLU-BOB devices
can be configured to receive the same or different eight channel ranges. The BLU-BOB
devices are powered by an external 24VDC power supply. Two versions are available—
the BLU-BOB1, a half rack width, desk- or wall-mounted version, and the BLU-BOB2, a 19”
single-rack version with mounting ears for equipment racks.
www.bssaudio.com

JBL PRX512Mi and PRX718S

The PRX512Mi is a 12-inch,
2-way, truly multipurpose,
self-powered sound reinforce-
ment system, with a frequen-
cy range of 46 Hz to 20 kHz.
The PRX512Mi is comprised
of a 12-inch Differential Drive
woofer, a neodymium com-
pression driver mounted to a
70 x 70-degree horn, all driven
by a multichannel Crown Inter-
national Class-D digital power
amplifier. The PRX512Mi fea-
tures 400-watt low-frequency and 100-watt high-frequency amp channels, while weigh-
ing only 18 kilos (40 pounds).
At the core of the PRX512Mi is a fully integrated DSP input section, providing mic/
line level input, selectable system EQ, and a premium A/D converter for a maximum
signal-to-noise ratio. A dual socket pole mount, eight standard M10 suspension points
and one M10 pull-back point enables multi-functionality.
Also new to the PRX family, the PRX718S is an 18-inch, self-powered subwoofer sys-
tem, offering a frequency range of 33 Hz to 160 Hz and a power rating of 1,400 watts
peak. In addition to the 18-inch Differential Drive woofer, the PRX718S features JBL’s pro-
prietary Dual-Bridge Technology (DBT), which directly links discrete amplifier channel
outputs with each voice coil in the woofer. The PRX718S also offers a DSP input section,
a selectable high-pass filter on the stereo loop-through outputs and polarity reversal, all
at a weight of 80 pounds.
www.jblpro.com

Mackie HD Series
The HD1521 2-way and HD1531 3-way
deliver up to 1800W of peak system power.
precision crossovers, transducer time align-
ment and phase correction circuitry right
in the box, in addition to patented acoustic
Ad info:http:// foh.hotims.com

correction processing that the manufacturer

says counters the inherent physical attri-
butes that can make typical loudspeakers
sound honky or washed out.
With custom transducer design and sys-
tem tuning by EAW, 15” neodymium woof-
ers are matched with the 1.75” heat-treat-

16 APRIL 2009 www.fohonline.com

ed titanium compression driver. The HD1531 3-way also features a 6” midrange driver QSC K Series Loudspeakers
and Mackie’s WaveFront mid/high horn system. A user-adjustable 3-band EQ with a QSC’s new K Series
sweepable mid lets the user EQ the system for the application at hand. The all-wood line of powered loud-
cabinets feature 12 integral fly-points for horizontal or vertical rigging and both mod- speakers features a mold-
els are pole-mountable. Integrated protection circuitry and robust build quality ensures ed ABS enclosure, uni-
years of reliable use. formly matched drivers,
HD Series High-Definition Powered Loudspeakers are expected to be available in the advanced DSP and QSC’s
Americas and Asia in June 2009. The HD1521 will be $1,249.99 MSRP. The HD1531 will touring spec amplifica-
be $1,499.99 MSRP. tion. The same 1,000-watt
www.mackie.com Class D amplifier module
powers all four models:
Proel NET Speakers the K8, K10, K12 and KSub
With four full range models and a (dual-12” subwoofer). De-
stage wedge all available in both active signed from the ground
and passive versions with Celestion driv- up, QSC claims the line
ers, the new NET defies the conventional
Series, presented wisdom that says smaller woofers equal lower performance. Along with the use of the
in preview at same amp module across the line, the company is using the same woofer motor in all
Musikmesse, will four models and the same 1.75” HF device in the three 2-way enclosures. The main dif-
be available for ference is the resulting output dispersion — the K8 being the widest at 105° and the K12
purchase in late the narrowest at 75°.
2009. The Celes- www.qscaudio.com
tion loudspeak- Proel NET 12 MA
ers are driven by
new class H and
class D amplifying modules.
The NET Series enclosures are made from 15 or 18mm mul-
tilayer wood and 1.5mm-thick metal grilles. The units also fea-
ture heat-dissipation and protection systems and separate lim-
iter circuits for each section of the amplifiers.
www.proelgroup.com

Proel NET 215

Soundcraft Si2 Digital Console

The Si2
comes in a
smaller foot-
print than its
bigger brother,
and has 48 mic
inputs mapped
on 24 faders

Ad info:http:// foh.hotims.com
(the Si3 has 64
inputs), but this
is where the dif-
ferences end.
The Si2, like the Si3, has four dedicated Stereo Line channels, four dedicated FX Returns
from the four stereo Lexicon FX processors, 8 balanced insert sends and 8 balanced in-
sert returns. Si2 is complete with 24 Group/Aux busses available at all times, 8 matrix
busses and a full complement of monitor talkback and main bus outputs. Like the Si3,
the Si2 uses a combination of rotary encoders and OLED screens on every channel. Four
assignable on-board Lexicon effect engines supplement 4 stereo inputs. With all input
and output connections and power supply on board, the Si2 can simply drop in where an
existing analog console sits, utilizing existing copper cable snakes and splitter systems
$26,000.
www.soundcraftdigital.com

Yamaha M7CLv2 Upgrade

Yamaha Com-
mercial Audio Sys-
tems, Inc. has an-
nounced a major
software upgrade to
its successful M7CL-
32 and 48-channel
digital mixing con-
soles. The Yamaha
M7CLv2 software
incorporates fea-
tures requested by
thousands of Ya-
maha console users
worldwide including Global Paste, enabling simultaneous editing of multiple scenes, and
Matrix Sends on Fader, providing access to 24 mix busses.
Additional enhancements provided by M7CLv2 software include Post-Fader Inserts on all
Ad info:http:// foh.hotims.com

inputs and outputs, Post-Fader Direct Outs, Monitor/Cue Level on stereo/mono faders, im-
proved Recall Safe mode, and Relative Level Channel Link and User Defined Key Setup on the
console’s offline editing software.
The M7CLv2 software update will be available by download free of charge during the sum-
mer for all existing M7CL users, and new console purchasers will receive the software pre-in-
stalled at no additional charge.
www.yamahaca.com

www.fohonline.com 2009 APRIL 17

 FOH Interview

Gordon Mack
A Man of
Many Hats

By BillEvans John Legend: Mack has his back.

I
t was one of those borderline CF situa- sia, Madonna, Chaka Khan, Keith Sweat,
tions. I flew from Vegas to Cali a couple Brian McKnight, Usher, Q-tip, Emma Bun-
of days before the NAMM show to cov- ton of the Spice Girls, Chic…
er the John Legend tour. The night before And on this gig he is also the produc-
I left I found out that the interviews were tion manager. We got a few minutes to
set up for a day that was hardly “standard” chat after the show.
even by touring standards. In addition
to a show at the Gibson venue in Univer- FOH: So, you left Chris Brown to join
sal City, Legend was doing the Tonight this tour. That’s a change. Very differ-
Show so his sound guys were arriving at ent styles…
the venue and then going back and forth Gordon Mack: Yeah, but I like a lot of
from Universal to the NBC lot to prep both different types of music. I’ve worked with
shows, line check, two performances and the Wailers. That was a very good learning
then back on the bus. experience. Taught me a lot about effects,
I called a halt to the madness and ar- how to set up quickly as well as how to
ranged for another night later in the week, be versatile in being able to use whatever
which meant driving to San Diego—an piece of gear is thrown at you—which
adventure in itself—but at least I was not keeps you open to just about anything—
trying to interview a guy doing two high to working with Prince or Madonna, who
profile shows in a day. The funny thing is are very demanding artists, which keeps Gordon Mack, FOH engineer and PM for the John Legend tour.

What is the coolest part of the John Plus, John is doing a lot of extra stuff like
“Being PM means you have a lot of other Legend gig? the NFL, we’re doing a tailgate party at the
duties. So for me, once the show starts The show. Once the show starts, ev-
erything else ceases. Being PM means you
Super Bowl, he’s doing the presidential in-
auguration, he’s also doing the NBA halftime
and I am at the console, everything else have a lot of other duties. So for me, once show. He’s got his hands full which keeps me
the show starts and I am at the console, busy.
ceases. When the show is over, my PM hat everything else ceases. When the show is
is back on.” ­—Gordon Mack over, my PM hat is back on. This interview was originally slated for
Tuesday, the day you did the Tonight
At what point of the day do you switch Show…
that as soon as I met Gordon Mack I knew you on your toes. Also, I had done John hats? That was a busy day…
he was the kind of guy who would have before and I like John and I like the mu- At the start of the show. When I step
made it happen anyway. sic. up to the console I am no longer the pro- I figured there was too much on your
Currently driving a VENUE desk with duction manager. But I am PM right up un- plate…
a Sound Image-supplied Adamson rig, How do you like the Adamson? til that point. There are a variety of things It’s not that difficult. I hear a lot of people
Mack got his start back in 1986 working It is very nice. This tour is the first time that happen during the day that call for say it is but for me it comes kind of natural. I
with Gwen “Ain’t Nothing Happening but I have used it and it is very nice. I love the my attention. It would be very difficult to do it for Erykah Badu, I’m her PM and FOH. But
the Rent” Guthrie. Since then, his client list d&b as well. It is nice to have several sys- break down a day’s responsibilities but that day was a long day. Long drive from Oak-
has become formidable, including Chris tems of that quality to choose from. from the time the truck doors open until land. We had transportation waiting as soon
Brown, Ciara, Prince, Erykah Badu, Fanta- they close, the show is on my shoulders. as we got off the bus, they took us to Leno, we

18 APRIL 2009 www.fohonline.com

got that set up, stayed there until the first
camera blocking then RAN over from there
to Universal/Gibson. Did a quick line check/
sound check, ran BACK to Leno for the show
there at 4 then ran BACK to Universal for a
VIP soundcheck at 5:30.

What is the most challenging part of

the gig?
Making the show go, because I nev-
er know what’s gonna happen. Things
change sometimes. If he’s not feeling well
he might sing a little softer and I have to
push him harder in the system and certain
notes that he likes to hit he’ll hit really
hard. And I have to compensate.

So you’re riding fader a lot?

John Legend on tour.
On him I am.

The piano sounds really good, what are

you using?
I have two C414s inside on the strings
and a piano module, a Yamaha Motif. It’s a
MIDI grand. I run high/low on the mics and
stereo on the module. Four total channels
for the piano. What I do is get the best
sound I can from the piano and blend in
the module to make it stronger.

I thought the piano sounded really

good.
People say that all the time. I get asked
all the time how I get the piano to sound
so real. I get the “woody” sound from the
mics and the module is like that hidden
secret. That “ancient Chinese secret.”

You are driving a VENUE?

I have been using it but not using a lot
of plug-ins. One reverb, one delay and one
Smack on John, but without any compres-
sion just to get ‘that’ sound. My favorite
console however is an H3000.

I saw you call up one plug-in that blew

me away—it was a Line 6 Delay Farm.
What are you using that on?
That is the main vocal delay.

You don’t see that one a lot. I see a lot

of high-end boutique-y stuff but not a
Line 6 guitar plug in.
I called it up once a long time ago and
it has some nice chorus-y sounds…

And it’s simple as hell….

I’m a pretty simple person. I don’t like
to have too many things going on because
then you have too many things that can
go wrong. I don’t even use a lot of reverb.
A little bit on John. A little bit on the back-
ground singers, a little bit on the horns
and everything else is totally dry.

I was told that everyone in the band is

a producer?
That’s true.

Man, I would not want your job…

No, it’s not like that. Because they
totally respect me. They listen to board
tapes from the gigs so they know that I
know what I am doing. So if I make a sug-
gestion they are more open to it. And all of
the band guys look up to all of the artists I
have worked with anyway, so it is easier to
work with them.
Ad info:http:// foh.hotims.com

Are you with John for the rest of the

tour?
I’m with John from now until the mon-
ey’s gone.

www.fohonline.com 2009 APRIL 19

 Buyers Guide

System Controllers
By BillEvans

C
heap DSP has meant many changes in the pro audio world, and most of them mean
we get to sell off or leave boxes at the shop, because what used to take four separate
boxes is now done with one. The system controller is maybe the best example. Where
your “drive rack” once contained crossovers, EQs, compressor/limiters and time delay, these
computerized wonders do all that—usually in a single rack space—without breaking a sweat. Martin Audio DX1.5
As we see more processing migrating to the actual amps themselves, even these boxes are not
safe from the march of progress. But here is a look at the current state of affairs.

Company Model Price I/O Processing

A full array of variable Q graphic and parametric equalization, crossover filters to 8th-order
Butterworth, Bessel, Linkwitz, and Notched-Linkwitz, an extremely advanced automatic
Ashly
ne4800 $2,695 4x8 feedback suppressor, autolevelers, compressors, matrix duckers, limiters, frequency-keyed
www.ashly.com
noise gates, time delay up to 1365 ms on every channel, sinewave, pink noise, and white
noise generators.
BSS
366T Omnidrive $2999 MSRP 3XLR/6XLR Crossover, Limiter, up to 38 bands of EQ, Delay
www.bssaudio.com
48 and 96 kHz operation, Optional CobraNet I/O, Optional Jensen I/O Transformers, Full
Bandpass Filter, Crossover and Routing Configurations with Bessel, Butterworth, and
4 analog and AES/EBU inputs Linkwitz-Riley filters, 31-Band Graphic and 9-band Parametric EQ on every input, 6-band
DriveRack 4800 3499.99
8 analog and AES/EBU outputs Parametric EQ on every output, Loudspeaker Cluster and Driver Alignment Delays, Select-
dbx Professional able DSP inserts on all inputs and outputs including Classic dbx Compression, Limiting and
www.dbxpro.com Advanced Feedback Suppression
Advanced Feedback Suppression, Classic dbx Compression and Limiting, Graphic and Para-
metric EQ, Auto-EQ Function, Full Bandpass, Crossover, and Routing Configurations, Auto
DriveRack 260 $999.95 MAP 3XLR/6XLR
Gain Control, Pink Noise Generator and RTA, Setup Wizard with JBL Speaker and Crown
Power Amplifier Tunings

DYNACORD DYNACORD / DSP

$980 List 2 in/6 out 24 Bit Digital Sound System Processor with crossover, EQ, delay, compressor / limiter.
www.dynacord.de 260

EAW Input: 4 Analog/2xAES/EBU/32 channels EAW U-Net 10 parametric (inputs and outputs), Delay (inputs and outputs), Crossovers (outputs), Limiter
UX8800 $3,617
www.eaw.com Output: 8 analog, 32 Channels EAW U-net on each output, polarity inversion (input), gain controls (inputs and outputs)

high and low pass filters are available with 1st order, Bessel, Butterworth and Linkwitz
Martin Audio
Riley from 1st to 8th order (48dB/Octave) slopes, 9 bands of parametric equalisation, a fully
www.martin-audio. DX1.5 $3,899 2 in/6 out
configurable look-ahead limiter, up to 650ms of delay adjustable in 0.3μs steps, gain from
com
+15dB to -40dB in 0.1dB steps, and polarity adjustment.
Per input: 27-band Graphic EQ Autograph algorithm for automatic EQ settings, Compressor/
Limiter, Delay (340 ms). Per output: Crossover/Bandpass filter (Butterworth, Bessel, Linkwitz-
Peavey
Peavey VSX 26 $559.99 2 in/6 out Riley), Parametric EQ (5-band, HP, LP Notch, Horn EQ, All-Pass), Compressor/Limiter, Delay
www.peavey.com
with polarity inversion. Also Fully adjustable crossover points; Built-in signal generator (white,
pink, sine); Phantom power +48 volt; Easy preset and system updates via Internet.
Mono and stereo Side-chain Compressors,Limiter, AGC, Ambient Noise Compesation, Para-
RANE
RPM 26Z $1,199 2 analog 2 AES3 in / 6 out metric, 30-Band graphic, Feedback Suppressor, 2-way 3-way crossovers, Matix Mixer, Auto
www.rane.com
Mixer, Mixer, Selector, Delay, Signal generator.

Tannoy Tannoy TDX1 $1482 MSRP 2 in/4 out

www.tannoy.com 4-band parametric EQ per input; route any input to any output; 2-,3-, and 4-way crossover
Tannoy TDX1 $1482 MSRP 2 in/4 out (Butterworth, Bessel and Linkwitz-Riley type filters) on all outs; independent speaker align-
ment delay (200 ms) on all outs; independent digital limiter on all outs; S/PDIF digital in and
TC Electronic through; factory and user presets.
TC Electronic
www.tcelectronic. $995 MSRP 2 in/4 out
XO-24
com

XTA DP448 $5,795 4 in/8 out

Analog and AES/EBU In/Out, Input Graphic and Parametric EQ, Delay and Metering, Output
XTA
Crossover, Parametric EQ, Delay, Phase Control, Limiting and Metering, Crossover slopes
www.xta.uk.com XTA DP446 $4,895 4 in/6 out
include: 6,12,18,24 or 48dB/Oct. Filters include shelving, notch, elliptical and bandpass.

XTA DP444 $3,995 4 in/4 out

Delay Long, Short, Dynamics Gate, Ducking, Expander, Compander,, Compressor, De-Esser,
Limiter, Filter BPF, HPF, LPF, Notch, EQ PEQ, GEQ, Fader, Pan LR, LCR, 3-1, 5.1, 6.1, Meter, Simple
8-IO Analog, 16-IO Digital (optional MY card slot), Mixer, Auto Mixer (II), Matrix Mixer, Delay Matrix, Source Oscillator, Wav File Player, Source
DME24n $3,849
Total 24 I/O Selector, Router, Crossover, Crossover processor (II), Speaker Processor, Other functions Room
Combiner, Feedback suppressor, Ambient Noise Compensator, Audio Detector, Auto Gain
Control, Event Scheduler, SPX
Yamaha Commercial
Audio
www.yamahaca.com
Input Select, Input Level, Input PEQ, Input Delay, Crossover, Output Polarity, Output Delay,
Output PEQ, Output Level, Output Limiter, Digital/Analog, Stereo/Mono, 8 band, Stereo Link,
Bypass, L.SHELF, H.SHELF, 6, 12 dB/Oct, 1300 msec, Stereo Link, Bypass, 6 dB/Oct, AdjustGc:
SP2060 $1,699 2XLR 1 AES in/ 6 XLR out
12, 18, 24, 36 or 48 dB/Oct, Bessel: 12, 18, 24, 36 or 48 dB/Oct, Butrwrth: 12, 18, 24, 36 or 48
dB/Oct, Linkwitz: 12, 24 or 48 dB/Oct, Normal/Inverted, 500 msec, Bypass, 6 band, Bypass, APF
(All Pass Filter) 1st, 2nd, Horn EQ, Threshold -54 dB to ±0 dB, Bypass

20 APRIL 2009 www.fohonline.com

 XTA DP448 Audio Management System

Yamaha DME 24-N

EAW UX 8800

Other Features Computer Interface Size/Weight

Programming is accomplished using standard 10/100 Eth-
ernet or RS-232 protocol and Ashly\’s Protea NE Software on
Channel mute a PC platform. Optional CobraNet network audio input and 19.0” L x 3.5” H x 8.5” D, 14 lbs.
output, EtherSound network audio input and output, AES/
EBU digital audio input and AES/EBU digital audio output.

LCD display, six output mutes, input level meters, output level meters HiQnet London Architect. 1.75” H x 5.75” D x 19” W, 6.2 lbs

Color QVGA Display; RTA input; EQ, Bandpass, Routing, Delay, Wizard
and Utility instant access control; Input Channel Select; Input Threshold DriveWare
3.5” x 19” x 12.15”, 11lbs.
meters; Output Headroom meters; Output Mutes; Output channel System Architect
select.

LCD Display; Input metering; Threshold metering; Output muting; EQ,

DriveWare 1.75”H x 5.75” D x 19” W. 5.5 lbs
Delay, Crossover, Dynamics, AFS, RTA and Utility instant access buttons

Qutput display with integrated limiter ststus and function display of Easy to operate DSP 260 editing software permits the con-
output channels.. Direct access to the most important input and output venient editing of all parimiters from a PC running windows.
11 lbs. ship weight
parameters.. Precision display of input level for optimal system leveling.. The computer is connected via the USB port on the front
Push button / LCD display panel.

Input and Output mutes, LCD Display, Encoder knob, LCD Function but-
Controlled via EAWPilot 13.295”L x 19”W x 1.720”H, 10 lbs.
tons, Ethernet connection

2 x 24 character LCD display 9 pin D type RS232 1 u rack mount, 7 lbs.

LCD screen; data wheel; setup; EQ; dynamics; Xover; delay; tools; mute
USB A&B 1RU; 9 lbs.
and signal/clip LEDs; input select; output select; USB A&B I/O.

Computer via Ethernet, preset recall via contact closure, and

Front panel metering of input and out signals. No front panel control. 1U, 8 lbs.
Rane Remotes: VR2, MRS 4, LRS 4.

1RU, 3.3 lbs.

Completely front panel controlled; input metering; 2 x 16 character 1RU, 3.3 lbs.
Completely front panel controlled
backlit LCD, power on/off

1RU, 3.3 lbs.

1U rack size: 19” x 12”, 8 lbs.

Full Control RS232 and RS485 control inputs. Wireless control ready.
1U rack: 19” x 12”, 8 lbs.

1U rack: 19” x 12”, 8 lbs.

Scene control, prests, volume, meters, utility functions, user define but-
*GPI, Ethernet, RS232, RS422, MIDI (PC, AMX, Crestron) 19” x 4” x 16.2”, 17.6 lbs.
tons, headphones

All Parameters accessable via Front panel Ethernet 18.7” x 1.75” x 14.1”, 9.7 lbs.

www.fohonline.com 2009 APRIL 21

 Road Test

One MicroWedge, Two MicroWedges, Three MicroWedges...

By LarryHall & BillEvans

F
or a long time the Radian Mi- which is always a good thing.
croWedge (popularly referred to as Mics used were a Shure SM 58, an Au-
the “Rat wedge” due to Dave Rat’s dix OM5 and then just to see how they
involvement with its development) was handle something very hot and very wide,
one of the “go-to” stage monitors for the an Audix VX-10. We set up one of the older
live audio biz—especially for those of us Radian MicroWedges as a baseline refer-
who specialize in concert-type events. We ence. Crest 8200s provided all power. We
could almost always be sure that the Mi- used a dbx 480 to set up crossover points
croWedge would be one of the rider-ac- for the APEX. For the EAW, we used the
ceptable choices. The compact boxes put recommended UX8800 processor.
out plenty of clear SPL, and while every-
one has their own personal favorites, few The Gig RT
acts would turn down the MicroWedge OK, it was a shootout in the ware-
when advancing the gig. house, not an actual gig, but you get the
Now unless you have been sleeping picture.
in class, you know that there have been We did the deed over two days. First
some major changes in the past year-plus we got all official and scientific and did
in MicroWedge World. Dave Rat and Ra- actual measurements from three feet—
dian ended their longstanding relation- actual measured three feet, not “yeah
ship and Radian announced the APEX that looks like about three feet.” The first
as a successor to the MicroWedge while thing that was obvious was that both
Dave hooked up with EAW to develop a the APEX and the EAW were substantial-
new version of the box. Which basically ly louder than the old Radian—a good 6
leaves us with three versions of the Mi- dB louder. We barked into mics until our
croWedge: the original, the new EAW Mi- voices gave out then went to program
croWedge and the Radian APEX. material and test tones and ran them
Which leads us to this: Yes, we are do- until there was substantial heat coming
ing a shootout. FOH never does shootouts off the voice coils and all three held up
because the editor is a wuss who says that nicely.
“the only one who gets shot in a shootout The next day was about the more
is me.” But this is a unique situation and it subjective “how do they sound?” part
screamed for a direct comparison. of the equation. Same setup, same gear,
but we brought a singer in to be our
The Gear RT test subject. Again we started with the
All three boxes have the same basic old Radian as a baseline playing prere-
structure: they are full range or biam- corded tracks then moved on with the
pable boxes with a coaxial device that in- same tracks and the same setup as the
cludes an LF driver and a high-frequency day before to the new boxes. Then had
horn, and are available with 12-inch or both the singer and an engineer used to
15-inch LF drivers. (For the shootout we doing lots of monitor work hit the mic
used 12-inch versions of all boxes). Both both with and without tracks running We tested the monitors with a number of different mics, including a Shure SM 58, an Audix
new boxes use a HF driver with a 3-inch and then sat down to talk it out. OM5 and an Audix VX-10.
voice coil, but the Radian claims a 2-inch Our initial impression came down to
exit to the EAW’s 1.4-inch exit. Both two good boxes that were just different feel of the sound The boxes sounded a Bottom line on both sound and output is
new boxes contain a passive crossover flavors. I like vanilla bean ice cream and lot more similar. So we took it one more that the new MicroWedge mojo appears
and both sound good, but the crossover you may prefer French vanilla. They’re step and ran the same process with both to be in the controller.
in the EAW is substantially bigger and both vanilla but they taste different. boxes using the EAW controller. And… Taking the controller out of the pic-
beefier. The chances that anyone buying Using the “flat” setting on the UX8800 The APEX got louder and smoother. ture the Radian is more attractive on a
wedges at this level is using them passive processor, the EAW came across as be- So we tweaked the 480 settings for a little price level, with a $700-plus difference
is not great, so we are not gonna spend ing smoother across the tonal spectrum while and got the Radian to the same out- in dealer cost per box. So the differences
a huge amount of time on it, but the old while the Radian was very “present” in put and a sound character that was remark- come down to shape, beefiness of the in-
Radian took a lot of power to get crank- the vocal range, and the vocals cut bet- ably similar—in fact, damn near identical. ternal crossover, the integrated flytrack
ing when in passive mode and that has ter than the EAW. Our singer said that on with optional kickstand, a couple of dB
not changed much here. a loud stage where he really needed to So, Who Wins? RT more output and a substantially higher
The most immediately noticeable dif- hear his vocal he would opt for the APEX This is one where you will have to price tag on the EAW versus the more
ference is in the shape of the boxes. The but on a softer gig where he wanted to make your own call. But here are some basic but still loud and nice-sounding
new MicroWedge is a bit smaller and hear a fuller mix he would prefer the things to think about. If you are all about APEX, which is easier on the wallet.
lighter—7 lbs—and where APEX has gone EAW. The engineer, on the other hand, the processor, then you want to think Neither has been on the market long
to a whole new profile, EAW has retained just preferred the EAW. Using their pro- twice about the APEX. We used the same enough to make a rider-friendliness call,
the shape of the original MicroWedge. cessor and presets, the EAW was a few settings on the 480s that we have used although with the MicroWedge name,
The cabling connects on the front of all db louder than the APEX with the same on the old MicroWedges forever. Since we have to assume that EAW will have
of the boxes, providing an elegant look, input. the shootout, presets have been written the upper hand there.
and no cable ends to trip over and break We bypassed the dbx480 and took in house for both the dbx 4800 and the Our recommendaton is this: If you’re
because they “live” inside the box. the EAW processor out of the chain and Crown iTech. Those were given to Ra- on any type of budget and need a wedge
The EAW also incorporates a fly-track ran them passive and noted less of a dif- dian, and we offered to write more, but like the original Micro that is simply
on the bottom that allows you—in addi- ference in sound character and about a have not received a response. a loud, clear and durable wedge with
tion to other other obvious options—to 2 dB advantage in output for the EAW. Ultimately, much of this comes minimal to zero DSP, give Radian a call.
use a kind of kickstand attachment to At this point we had planned on being down to the processor. The EAW defi- If you’re not on a budget so much, and
change the angle, which is kind of cool. done until someone suggested using nitely sounds better and is louder when are already looking at the Clair 12AMs
Last physical difference—we did the the EAW with the dbx480 and without matched with the UX8800 but we were or the Firehouse wedges, or the newer
tests with the grills off, but the New Mi- the UX8800, at which point it got very able to get the same—or very close to Showco wedges, take a look at this new
croWedge has some foam incorporated interesting. the same—results with a non-EAW con- MicroWedge. Its got killer but pricey DSP
into the edge of the grill that makes them In this setup, the first thing we no- troller. And both the old and new Radi- and the wedge/DSP combo is pretty in-
a bit more stable at higher volume. In ticed was that the EAW advantage in SPL ans sounded substantially better and sane, and quite a bit cheaper than the
other words, more gain before feedback, disappeared, as did much of the “hi-fi” were louder using the UX8800 presets. 12AM/Clair DSP combo.

22 APRIL 2009 www.fohonline.com

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 Road Test

Da-Cappo DA04 Lav Microphones By JamieRio

M
ost of my speaking gigs take
place in houses of worship. I
have found that a church con-
gregation can be very critical when it
comes to their ability to clearly hear the
pastor, priest, preacher, rabbi etc. The
fact of the matter is that any speaking
event is only successful if the speaker
can get their message across clearly, and
that is why we need good microphones.
Not only do we need good mics, we
need the right mic for the job at hand.
That is where Da-Cappo comes in. They
have developed a lavalier microphone
that they hope will serve as the right mic
for most of your speaking gigs.

The Gear RT
The DA04 mics I received for review
were very small lavalier microphones. The DA04 includes the mic, tie clip and wind sock and one of several available adapters.
The electret condenser capsule is only
2.5mm in diameter. The microphones
come with a wind screen, tie clip and outing with the mics was at a mid- particular church used floor monitor DA04BL that I had gotten from the DA04AL.
an adapter for your wireless receiver. I sized church in Wilmington, Calif. The wedges to hear himself, and due to the However, I preferred the AL for a live speak-
was sent two models. The DA04AL has a pastor of this house preferred to use a omni-directional pattern of the micro- er. It seemed to be a little more flexible. It
sensitivity of -35dB and the DA04BL has handheld wireless mic so it took a little phone, I had a little feedback. So, I just all boils down to the mics performing very
a sensitivity of -45dB. The latter model pre-service negotiating to convince the pulled back the wedges and all was well. well in two very different scenarios.
has some additional headroom de- pastor that the lav would work well. He (By the way, most preachers or speakers As for any of you sound techs out
signed for the pro broadcasters. The mi- told me he didn't really know what to do don't ask to hear themselves in moni- there who are planning on picking some
crophones listen in an omni-directional with his hands, and I suggested he hold tors. It would be unlikely that you will new lavalier mics Da-Cappo would be a
polar pattern with a published 20Hz to a Bible while he preaches. I am only tell- run into this type of issue during your sound (pun intended) investment. It is
20kHz frequency response. ing you this in case you face the same or own personal mixing duties.) obviously easier to walk into a speaking
The mics I received for review came similar resistance. The "Bible in Hand" The most important question with gig armed with good mics and not hav-
in a flat black finish but they are also is a good look for most preachers and this lav mic was whether I could get ing to negotiate your way through the
available in beige and white. Before I gives them something to do with their clear audio to the congregation, and I gig. But should you have to deal with any
get into the performance of these lav hands. Anyway, back to the event. did. A few minutes into the sermon, the resistance or having to change minds at
mics, I think I should mention that many Once I had the pastor on-board with pastor was comfortable with the new least you know you will have to right mi-
houses of worship have opted to use the new lav mic, I still had to place it mic, and the audience was responding crophones with you.
headset mics rather than lavs. Person- properly. I tend to place my mics higher to the message. By the time the service
ally, I like the appearance of a lavalier on the lapel than other techs. Mainly was over, I had sold the pastor on using
microphone because it is less "rock star" because I feel (and hear) that I get a lit- a lav mic rather than a handheld. That
looking and in my view more profes- tle more resonance out of the speaker would pretty much be "mission accom-
Da-Cappo DA04AL and DA04BL
sional looking than a headset mic. That if the mic is placed closer to the voice plished" in this case.
said, I should mention that Da-Cappo box. So, I clipped the DA04AL (-35dB) My next event was more of an uphill
What It Is: Lav mics
also manufactures a couple of different higher on the lapel than others may. I battle than the last church, as the preacher
Who It’s For: Anyone doing a lot of
headset microphone designs and I may next married the lavalier microphone to at a worship house I mixed in La Crescen-
spoken word gigs
even be reviewing one in the future. a Shure transmitter (Da-Cappo makes ta Calif. was very tied to his headset mic.
Pros: Small and unobtrusive, plenty of
OK, let's get to the performance of the adapters to interface with most types I never considered that field testing the
headroom, flat and natural sound
DA04 mics. of wireless systems). DA04 lav mic would also mean changing Cons: Convincing speakers to use a
Right out of the box, the mic sound- the hardened minds of some of the pastors lav…
The Gig RT ed flat and natural. Of course, I did I work with. At any rate I finally convinced How Much: DA04AL: $275.00 MSRP;
As I mentioned at the beginning of not expect the same amount of gain my La Cresenta pastor to use the Da-Cap- DA04BL: $285.00 MSRP; Shure Adaptor,
this review, I mix most of my speaking as a handheld, but the lav had a good po microphone. The end result was very Black (DAADL04) $24.00 MSRP
events in houses of worship. My first amount of headroom. The pastor of this good. I got the same flat response from the

24 APRIL 2009 www.fohonline.com

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 Vital Stats

Sweetwater’s Chuck Surack

By KevinM.Mitchell
Who: Chuck Surack, president and founder I built a company based on three things:
of Sweetwater Reasonable prices, expertise and great cus-
tomer service.”
What: Fourth largest retailer of music in-
struments and pro audio products in the The company today: Last year Sweetwa-
country. ter opened its new $35 million campus.
The first LEED-certified “green” building in
Where: Fort Wayne, Indiana the region, the new 180,000-square-foot
state-of-the-art facility includes a 250 seat
When founded: 1979 Performance Theatre and Sweetwater’s
Full time employees: 340 new Academy of Music.

Number of pro-audio products in cata- People might be surprised to know: “I'm

log: 4,000+ a helicopter pilot, collect and restore cars,
and play the saxophone, gigging almost
Recent company highlights: Sweetwater every weekend. Also I’m a gear junkie, and
recently received the Business Committee know how to use almost everything we
for the Arts’ prestigious Ten Award. Along sell.”
with others, including H & R Block and Home front: Wife Lisa; stepsons Tyler and
Northwestern Mutual, Sweetwater was Cameron; and daughter Adderly (named
Chuck Surack, president and founder of Sweetwater.

“I had the same problems that many few customers who don't yet realize that couple of years ago, James Brown two
musicians had for decades: Where Sweetwater is really different and we really months before he died …”
care.”
to find the products needed at rea- If and when I get on vacation, you'll find If I could have lunch with any person liv-
sonable prices.” —Chuck Surack me... “With my lovely wife and my head ing or dead, it would be... “I have been
buried in a computer and reading tons fortunate to meet so many great people on
of magazines, like Front of House, Mix, Re- this earth, but if I had to name one, it would
recognized for its ongoing support of the after Cannonball); and dogs Butterscotch mix, Recording, Car and Driver, Autoweek, be Jesus. I would have a lot of questions for
arts at a gala ceremony in New York last and Tootsie Roll. Rotor and Wing, and many, many more. him.”
October.
Humble beginnings: “Sweetwater Sound If I could tell my younger self one thing, The best concert I probably ever saw Words to live by: “Always, always do the
started as a four-track professional record- it would be... “Balance life, family, work, was… “Too many to name! Some of my right thing. Your integrity and your cred-
ing studio in my VW microbus. At that time, and friends better.” favorites were seeing ZZ Top in the mid ibility define your life while you’re here and
I was recording albums and composing 1980s. Every concert I’ve seen with Tower after you’re gone.”
jingles for area retailers. But I had the same Best part about my job is... “I get to work of Power. Ray Charles in California just a
problems that many musicians had for de- with the most amazing people in the world.
cades: Where to find the products needed I am surrounded by some of the best and
at reasonable prices — that, and getting brightest and I’m inspired everyday.”
dependable advice from people who actu-
ally knew what they were talking about. So Biggest drag about my job is... “Those

Sweetwater’s 180,000-square-foot facility is a LEED-certified “green” building.

The 250-seat Performance Theatre.

The company has come a long way from its origins in the back of a VW microbus.

26 APRIL 2009 www.fohonline.com

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 In The Trenches

David Moncrieffe II
System Engineer/ Clients: Jonas Brothers, Carrie Underwood... Hobbies: Fishing, camping , hiking and an-
Crew Chief tique tractors.
Clair Quote: “If you are waiting on me you’re back-
Gresham, Ore. ing up!” and “Changing the laws of physics Equipment: Whatever is required for the
503.422.2903 on a daily basis to accommodate demand- tour!
s o u n d s l i ke d ave @ ing and ever-changing professional needs.”
msn.com Don’t leave home without: A ticket home
Personal Info: Thirty years of providing and a picture of your family in your wallet.
Services: “D” — all of quality audio support, nearly 20 of those
the above... with Showco and Clair. Gotta run now I can
hear a new tour coming up!

Tony
Sandoval
Owner Operator
T.S. Productions
Lakewood, Calif.
www.tsproav.com
562.243.0878
tony@tsproav.com

Services: Full Productions, Audio, Video &

lighting and stage set design.

Clients: Corporate & Special Events: Queen

Mary, Club Vodka, Kaiser, INA/Amway,
Essence Ent. Normandie Casino & lots of
promoters....

Quote: “Do it right or don’t do it at all.”

Personal Info: In high school, I was playing

guitar in bands and did the club thing, but
I knew I needed a backup plan. So I got my
degree in audiovisual productions. At 21 I
got my first job as a AV rental guy. By 23 I
started my own company. By 26 I quit my
job and been doing AV ever since, 18 years
now. I first thought since I was in bands
and knew lots of other bands I figured thats
what I would be doing—live sound for
bands, but there is no money with bands,
so corporate is where I went. I figured if I
can mix six bands a night at FOH and five
monitor mixes with no sound check, then
six talking heads on stage is a walk in the
park. My goal is keeping my clients happy
and making sure AV is not something to
worry about.

Hobbies: Travel, playing guitar now... and

looking for more gigs...

Equipment: Yamaha, Midas and Allen &

Heath mixers, EAW, EV, NEXO speakers

Don’t leave home without: Cell Phone,

Laptop & cans...
Ad info:http:// foh.hotims.com

28 APRIL 2009 www.fohonline.com

Ad info: http://foh.hotims.com/
 Regional Slants

The De-Specialization of Audio East

However reluctantly, the company has expanded its capabilities —
and circle of friends — to keep clients happy.
By DavidJohnFarinella

Audio East helped get things revved up at the Wild Turkey/Bud Stage during the 85th annual Laconia Motorcycle Week in Laconia, N.H.

I
n the mid-1990s, Daniel Bouchard was Today, Bouchard thinks of Audio going to find us [near
balancing a handful of plates on sticks, East, first and foremost, as a production the top]. The reason I did
doing all he could to keep each in the house. “I organize everything from audio that is because I wanted
air. There was a day gig at a music store, to lighting, so the client doesn’t have to to reach a lot of different
a handful of dates with his band and then shop 10 different people,” he says. With places. So, if I could have
there was that PA sitting in the van. One his company, he adds, “they also have a small piece of a lot of
day he decided to put two of those sticks a production manager who’s going to different pies, [I figured
down to get the PA stick swinging. worry about their schedule, and that’s it was] better than just
“I decided that I could make more not billed.” trying to work in my 50
money renting one sound system out than Also, he believes the company’s size miles radius.”
the other two,” the Audio East operations and service reputation gives him an edge So far, that approach
manager and owner reports. “The one cli- over the larger production companies in has paid off. “We are
ent I had dropped me, so I went out and the area — and, surprisingly enough, an really starting to get
got another. Then the first came back and edge on costs. strong in New York City
that forced me to buy another system.” “They are so much bigger than we and Long Island, because
Bouchard kept those two clients — are that they can’t compete with us they are not so competi-
regional cover bands that were doing 90 price wise,” he says. “So, if there is a cli- tive down there as far as Setting up for the Lowell Summer Concert Series at Boarding House Park in
production people go,” Lowell, Mass.
he says. “Everything seems to be a union promoter can’t give them what they want.
“I swore I’d never get into lighting, house and the rates are pretty locked in, We’re steering in a different direction with
so a university in New York can save $4,000 more concert series and festivals.”
but I ended up getting into it. Swore off production costs and get a better prod- The Audio East team is also concen-
I’d never get into staging, and now uct. The downfall is that when there’s an trating on commencement business and
emergency I’m out in New York having to corporate gigs for clients like Gold’s Gym
we own staging. Swore we’d never make friends.” in New York. “We’ll do a two day event for
do video, and now we’re doing video.” A Friendly Network
their trainers where we bring in a stellar
FOH production that we designed,” he says.
—Daniel Bouchard, owner, Audio East Inc. Making friends, Bouchard adds, has “We take care of them and they take care
been another impor-
tant ingredient in his
dates a year — happy and then started to ent that’s shopping them and shopping company’s success and
look for others. His look didn’t take long, us, we’re going to beat them by 40 per- growth. In fact, before
since a promoter was looking for a full ser- cent because our overhead is so much he made his latest line
vice solution in a room where national acts less. But if we’re going head to head in array purchase he made
played. “Then I just started picking up na- the sound business, then it’s a lot more a number of calls. “I
tional and international acts,” he explains. competitive.” made sure that I had
a rental partner that I
Keeping Clients Happy FOH Patient, Steady Growth FOH could rent another 30
But if specialization can be a good Growing patiently has been one of the or 40 boxes from with
strategic move for any business — the factors of success for Audio East, Bouchard matching amps and
typical brain surgeon gets paid more says. The other has been the company’s processors to make it so
than the average general practitioner — Lowell, Mass. location and the willingness that instead of me be-
sometimes a company has to de-special- to travel as nearby as Boston and as far ing a 16 box house, I’m
ize to keep clients happy. away as Long Island, N.Y. “I don’t think this a 40 box house,” he ex- Audio East Inc. owner Daniel Bouchard works the FOH controls for an event at Tsongas
“I swore I would never get into light- company would survive in other parts of plains. “So, if my client Arena in Lowell, Mass.
ing, but I ended up getting into it,” the country,” he says. “We go to all those needs way more than I have then I have of us and at the end everyone is smiling
Bouchard says with a laugh. “Swore I’d places a lot, and we are two-and-a-half the access to get it.” as opposed to crying because we’re load-
never get into staging and now we own hours from all the ski resorts, where there The move from pure audio house to ing out at 5 a.m.”
staging. Swore we’d never do video and is a ton of business.” production provider was not the only At the same time, Audio East will
now we’re doing video. We found that The company’s reach is the basis of change that Bouchard has made over the continue to expand its sales and install
the organic model worked really well, as Bouchard’s marketing campaign. “We ad- past couple of years. “We are now steering business. “Our long term success really
long as you can grow everything small vertise the sound company as New Eng- away from rock shows,” he explains. “There has come because we’ve had several dif-
and sub-rent it until enough clients asked land sound and lighting, even though is no money in them, the gear gets treated ferent kinds of incomes,” he says. “That’s
for it. The whole company was built like Audio East is the name of the company,” like crap, it’s always in a substandard place been the secret of not dying, especially in
that, piece by piece every year.” he reports. “If you look it up online you’re and the artist is never happy because the times like January and February.”

30 APRIL 2009 www.fohonline.com

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 The Biz

All the World’s a Stage By DanDaley

But Moving It is Getting More Complex

F “It used to be going mainly to Europe

uel prices are down and everything’s through customs and security. One of the
looking rosy for getting gear on the more significant of these has been to cre-
road for the upcoming concert-tour- when it went overseas. Now, much of it ate multiple versions of assets like stage
ing season, right? Well, maybe not. is headed to Asia, Central America and sets and backlines, then pre-positioning
Some of the handful of freight forward- them in advance of a tour moving from on
ing companies that specialize in packing, South America. I’m not sure why, but the continent to the next. Upstaging did just
shipping and handling musical instru- trend looks like it’s going to extend into that with Radiohead’s recent tour, creat-
ments and pro audio gear are reporting ing two productions that would leapfrog
that a combination of more burdensome 2009.” —Keith Mitchell, Shockwave Cargo each other ahead of the band, which then
Federal regulations and a general mal- picked up sound and video from local ven-
aise at still-floundering airlines that have confirm all the details,” says Bretherton, more and more of it is going to places he’s dors.
cut routes, changed aircraft and in some who says his list of known shipper entities never shipped to before. “In the past three The concert freight sector, relatively
cases transferred that chimp from the lug- has about 10,000 entries. In particular, it’s or four months, I’m seeing a lot more ac- cozy as it is, has seen some consolida-
gage ads to cargo handling is creating new starting to wreak havoc with newer venues tivity going to places like Bali, Indonesia, tion, most notably Rock-It Cargo’s ac-
headaches for getting tours where they and ones in less-traveled locations. Panama, Colombia,” he says, citing artists quisitions of shippers Rogers Worldwide
need to go. Fuel prices are under control for the including Hoobastank, Third Eye Blind and and Soundmoves. About the same time,
Larry Bretherton, manager of the Los time being, but the airlines are not out Marc Anthony, among others, for whom a consortium of small and mid-sized
Angles office of freight coordinator New- of the woods by any means. U.S. carri- Shockwave has sent gear overseas. “It used shippers that share a specialty, or at least
Direx, says that if anything, conditions ers cut their domestic schedules by an to be going mainly to Europe when it went an affinity for, the touring concert busi-
for concert shippers have become worse average of nine percent in 2008, and are overseas. Now, much of it is headed to ness formed Entertainmentcargo.com,
more than seven years after the 9/11 at- also changing out wide-body aircraft for Asia, Central America and South America. through which a half-dozen or so inde-
tacks in New York. “I don’t know if they’re narrow-bodies on some of more margin- I’m not sure why, but the trend looks like pendent freight coordinators offer those
keeping America safe but they’re keeping al remaining ones, thus reducing cargo it’s going to extend into 2009.” and other tour support services in the
us busier then ever,” he says, referring to capacity on those routes. “I have to con- Nonetheless, fuel costs will remain U.S., Canada, the ANZAC region, Japan/
the Transportation Safety Administration tinuously check on schedules, routes and volatile in 2009, affecting shippers’ cost Pacific Rim and Europe. Troupes touring
(TSA) and its parent entity, the Depart- aircraft type,” Bretherton complains. “I and their ability to project those costs for the world can be handed off to member
ment of Homeland Security (DSE). “We get might be bidding on a project that starts future bids. Even the usual harbingers of companies in each region, though the
two visits a year from TSA and at least one two months from now, but if two weeks price increases are no longer reliable; the originating company controls the bud-
from Customs.” before it starts they switch from a 767 to announcement last December that OPEC get and invoicing, consigning the work
Major problems include the fact that a 737, everything has to be recalculated. was cutting oil production resulted in gas- to the other affiliates. NewDirex is the
the finalization of TSA’s own database It’s important to have a caveat in any bids oline prices further declining that same West Coast affiliate for Entertainment-
of commercial shippers is substantially that makes it clear that they are based on week. But some things still allow some cargo.com, and Larry Bretherton says
behind schedule and their Known Ship- current information.” useful crystal ball action: land shipping it’s as much a marketing proposition for
per program has added additional layers Keith Mitchell, president of operations costs will rise and fall quickly in relation to each of the shippers involved as it is a re-
of complexity that are costly in terms of for Shockwave Cargo, which operates from the price of gasoline; jet fuel tends to lag action to consolidation elsewhere in the
both time and money, often compelling Los Angeles and Elizabeth, N.J., agrees that those changes by as much as a month, and market. “It’s worked well,” he says. “We’re
the shipper to physically go to the sites of Federal regulations are becoming more airlines have been good about announc- all neurotic small-shop owners who want
clients and destination venues to satisfy onerous, as are the airlines’ own cargo re- ing fuel surcharges in advance. everything to go exactly right. That’s
TSA regulations. All clients and destina- quirements, which increasingly reflect the Production companies have also been tough to do in this business.”
tion venues have to be submitted in dense fee-soaked nature of passenger baggage. changing their strategies in reaction to The thing everyone wishes for this
detail for TSA vetting. “And if they kick one But he’s also noticed another trend when air freight costs and the increased time touring season, though, is stuff to ship.
back to us, we literally have to fly there to it comes to routing gear for touring artists: that it takes to clear complex productions Lots of it.

L
IVE SOUND, Theory and Practice
offers practical advice on real
topics important to technicians and
engineers in the live sound business.
In these pages sound engineers of all
levels will find vital help on how to deal
with real-world problems such as time-
pressure, troubleshooting a rig, dealing
with non-technical individuals (venue
management, musicians, patrons, etc.)
and their competing demands, and the
limitations of their budget.
Collected and expanded from
Amundson’s monthly column in FRONT
of HOUSE magazine, LIVE SOUND, Theory
and Practice offers solid technical data
to help you understand the theory
behind the hows and whys of sound
reinforcement with sections that cover
speaker and amplifier configuration,
power distribution and signal processing,
as well as concrete practical advice
Ad info:http:// foh.hotims.com

you can use when the gig gets hot. It’s

recommended reading for anyone out on
a gig who wants to get it right.

www.fohbookshelf.com
32 APRIL 2009 www.fohonline.com
 Theory and Practice

By MarkAmundson
Making a Solid Connection
E
very once in a while, we need to tell 120VAC light bulbs, clocks and control cir-
the experienced sound guys to take a cuitry. Previously the NEMA 10-50 plugs
break and re-introduce a basic topic and receptacles were used, but they did
that does not get discussed much. Power not have the neutral contact.
distribution (distro) connectors are such a Although informally used a couple
topic. It’s as good a time as any to now go decades ago, the NEMA 10-50 intercon-
over the common types and discuss their nect is forbidden to be used as a 120VAC
usage. NEMA 5-20 power distribution connection because
NEMA 5-15
the safety ground and neutral wires
NEMA 5-15 would have to be shared on one contact.
The National Electrical Manufacturers Forbidden or not, I still see 10-50R recep-
Association (NEMA) is a non-government or- tacles at older clubs, some shady sound
ganization that helps set standards for the in- companies with 10-50P distro plugs and
dustry, and has evolved from many separate even an occasional extra green safety
associations into one. ground spring clip. If that neutral/safety
About a century ago, Thomas Edison in- NEMA L14-30 NEMA 14-50 ground contact should ever open circuit,
vented the light bulb, but before it could light a lot of 120 to 240VAC hot shocking cur-
anything, the whole electricity infrastructure plug and 5-20R wall receptacle. In sound L14-30R receptacles to bring out power rent would be found onstage looking for
— from DC generators to wiring, switches, systems, it fairly common to see 5-20P to amplifier racks located behind stacks something or someone to complete the
light sockets and receptacles — also needed plugs on 20-Amp rated power conditioners of mains speakers at downstage left and path to ground.
to be invented. While not every item Edison’s and high power audio amplifiers, especially downstage right. This makes sense as lo-
engineers designed survived the conversion those used on subwoofers. cating the amp racks close to the speak- A Reminder
to AC power, instigated by the Nikola Tesla/ ers makes the speaker cable losses low, If you have not done it recently, make
Westinghouse/General Electric lobby, many NEMA L14-30 and the audio fidelity from the speakers sure all your AC distribution cabling gets
standard items did. One item was the two- The NEMA L14-30 series is a higher improved. Obviously, smaller sound sys- the connector contacts cleaned periodi-
pronged electrical plug and mating recep- power plug and receptacle commonly tems will use only one mains power am- cally, or at least during the build of the ca-
tacle, now called an “Edison” plug and recep- used in moderate sized power amp racks, plifier rack, and run longer speaker cables bles. For me, contact cleaning is a bunch
tacle. and contains four prongs/contacts. The across the stage instead. A good example of Q-tips and small bottles of Caig Labs
In the 1950s, increased safety concerns “L” in the L14-30 designation, means it is of NEMA L14-30 usage is on some Mo- red DeoxIT and blue PreservIT fluids. The
brought the third or U-ground prong into a twist-loc design with the prongs and tion Labs Rac-Pacs as a means of chaining process is to use the red bottle brush and
usage, which now is described as the 5-15P receptacle slots curved for the twist fea- PPDU power to the Rac-Pacs. liberally apply the fluid on all the metal
plug and 5-15R receptacle. Pictured above is ture. The 14 stands for the “14” series of prong surfaces and in the cable recepta-
a typical example of a heavy duty 5-15P plug designs, and the 30 is the maximum AC NEMA 14-50 cle slots (unpowered of course); and then
and duplex wall-mounted 5-15R receptacle. current rating of the prongs. Of the four For us club rig sound companies, the use the Q-tips to absorb the extra DeoxIT
contacts, the neutral is across from the 14-50P “range plug” is very much a stan- while leaving a uniform coating. The blue
NEMA 5-20 safety ground (prong with bent tab), with dard disconnect for small PPDUs. The PreservIT fluid is applied and removed
Also in the middle of the last century, the two 120 volt hot contacts in between. 14-50P plug and 14-50R receptacle are the same way, with the second Q-tip col-
the need for slightly more ampacity for This is described as a 120/240VAC design, the current standard interconnect for lecting both red and blue fluids in excess.
kitchen electric gadgets and in business lo- as it is has the neutral as a center tap be- household electric ranges and contain The red fluid removes the metal oxidation
cations brought forth the NEMA 5-20 plug tween the 120VAC contacts or 240VAC 4-prongs for neutral, safety ground, and and carbon build-up, while the blue fluid
and receptacle. While the 5-20P plug is very across the hots when used in single phase the 120/240VAC hots. While most electric protects against future oxidation. As a
similar to the 5-15P, the 90-degree rotated power distribution systems. ranges use the 240 VAC across the hots handy preventer of warm AC connections
neutral prong prevents the 20-amp rated In many modest sound company B and for the oven heat elements and stovetop by having coated contacts, some of that
plug from mating with a 15-15R receptacle. C rigs, it is common for the portable pow- heat elements, the addition of the neutral fluid will even help wipe and clean the
Our graphic also includes a typical 5-20P er distribution unit (PPDU) to have a few allows appliance manufacturers to use venue’s receptacles.

Company Page Phone Web Company Page Phone Web

A&S Case Company 14 818.509.5920 http://foh.hotims.com/23507-210 Production Intercom 26 847.382 http://foh.hotims.com/23507-186
Adamson Systems QSC Audio Products C4 800.854.4079 http://foh.hotims.com/23507-115
27 905.982.0520 http://foh.hotims.com/23507-130
Engineering
Radial Engineering 31 604.942.1001 http://foh.hotims.com/23507-179
Allen Products / ATM Flyware 2 562.424.1100 http://foh.hotims.com/23507-238
Radian Audio Engineering 6 714.288.8900 http://foh.hotims.com/23507-246
Biema 10 210.684.2600 http://foh.hotims.com/23507-154
Sensaphonics 12 877.848.1714 http://foh.hotims.com/23507-237
Bosch/Electro-Voice C1, 7 248.876.1000 http://foh.hotims.com/23507-161
Sweetwater Sound 25 260.432.8176 http://foh.hotims.com/23507-247
Checkers Industrial Products 17 800.438.9336 http://foh.hotims.com/23507-215
Telefunken 32 860.882.5919 http://foh.hotims.com/23507-242
d&b Audiotechnik 9 828.670.1763 http://foh.hotims.com/23507-132
TMB 15 818.899.8818 http://foh.hotims.com/23507-120
Earthworks 13 603.654.2433 http://foh.hotims.com/23507-244
Westone Music Products 4 719.540.9333 http://foh.hotims.com/23507-121
Ebtech 2 800.284.5172 http://foh.hotims.com/23507-239
Worx Audio 10 336.275.7474 http://foh.hotims.com/23507-122
FDW-W / Sontronics 19 608.227.2040 http://foh.hotims.com/23507-177
Yamaha Commercial
Full Compass 11 49 (0) 9421/706-0 http://foh.hotims.com/23507-175 1, C3 714.522.9011 http://foh.hotims.com/23507-123
Audio Systems
Heil Sound 17 618.257.3000 http://foh.hotims.com/23507-158
Hosa Products 16 800.255.7527 http://foh.hotims.com/23507-245
MARKET PLACE
InfoComm International 28 800.659.7469 http://foh.hotims.com/23507-188
Audioeast.com 35 866.274.4590 http://foh.hotims.com/23507-124
Kaltman Creations 3 678.714.2000 http://foh.hotims.com/23507-216
Drew’s Tickets 35 818.990.9170 http://foh.hotims.com/23507-248
KS Audio 5 727.447.9656 http://foh.hotims.com/23507-241
Hi-Tech Audio Systems 35 650.742.9166 http://foh.hotims.com/23507-127
Meyer Sound Laboratories C2 510.486.1166 http://foh.hotims.com/23507-112
HME 35 858.535.6054 http://foh.hotims.com/23507-232
North American Pro Audio/ New York Case/ Hybrid Cases 35 800.645.1707 http://foh.hotims.com/23507-168
23 870.755.6263 http://foh.hotims.com/23507-223
Turbosound
Sound Productions 35 800.203.5611 http://foh.hotims.com/23507-129
North American Pro Audio/
29 870.755.6263 http://foh.hotims.com/23507-223
Wharfedale Under Cover 35 508.997.7600 http://foh.hotims.com/23507-234

34 APRIL 2009 www.fohonline.com

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2009 APRIL 35
 FOH-at-Large
By BakerLee

Who Can You Trust?

I
t seems as though the is less than adequate, the
world is collapsing boxes look beat or the crew
around us as people is obnoxious, we do not get
are losing faith in a sys- called back. Very simply, a fee
tem that has let them is paid, a service is rendered
down. Powerful people and if the service is below par
who are supposed to be then we never hear from that
leaders and role models client again. If good service is
have betrayed our trust, provided at a reasonable price
and even the elected of- and, in a timely manner, then
ficials that ran on a plat- we get called back to do the
form of hope and change job again.
are viewed with a wary We live in a world of
eye. Greed has become instant gratification where
such a way of life that it we do a show, get paid, go
permeates our whole so- home and both parties —
ciety and affects every- employer and employee
one from lenders to bor- — are happy and satisfied.
rowers. Everyone is guilty Unfortunately, in these dire
and responsible for this economic times, there may
massive failure because not be as many shows for
we are all attempting to us as when the economy
live up to the same dream is thriving. Since employ-
and expectations that we ers and producers are all
have been sold. Movies looking for money-saving
and television glamor- deals, things may be tight
ize wealth and prosper- right now, but that too will
ity, and we not only idol- change. During the eco-
ize the hero, but we also nomic lull we just need to
sympathize with the fact be creative. Maybe we, as
that the hero may have to participate an industry, can hire out our services
in some illegal actions to achieve their
We can trust in ourselves and what to rebuild the country. After all, who
righteous end. we do because what we do is honest. would be better qualified to oversee
When such information is so thor- the rebuilding of America than the
oughly embedded in our collective con- It’s pretty hard to fake good sound… very same workers who, day after day,
sciousness it seems only natural that we build sets, put on shows, strike the
would look the other way when such sets and move on to the next event-
activities occur in real life. After all, we and I can guarantee that neither greed that run the companies have certainly on schedule and in short periods of
have all been told to “Keep our eye on nor lust for power is a new phenomenon lost their credibility. A short list of time? Forget credit. At the end of the
the prize,” “Winners write the history” —nor is the appalling behavior that is other things not to trust are insurance day the project manager will go in and
and “To the victor go the spoils.” Tough associated with these deadly sins. companies, mortgage brokers, credit do a settlement with the buyer. When
guys prevail because they are willing to card companies, the government, the settlement is complete he’ll pay his
do what’s needed and they make “Offers From Ship to Lifeboat bailout, the last eight years, the wars, crew and vendors a fair wage and then
you can’t refuse.” Of course this mentali- I bring all of this up since every one oil prices, the Palestinians, the Israelis, it’s on to the next day of rebuilding. If
ty is nothing new and has been going on is in the same boat that started taking terrorists, our allies, Hugo Chavez, Tick- someone’s work is unsatisfactory then
since the beginning of time (although on water due to the fact that we were etmaster and their merger with Live Na- they will not get rehired for another
one should remember that I am only so intent on keeping our collective eye tion, Merrill Lynch, A-Rod, Chris Brown’s day of labor and a more capable per-
postulating since, as old as I am, I have on the prize. By focusing so unremit- character, Michael Jackson’s nose, son will get the job.
not been around since the beginning of tingly on the prize, we lost sight of the Britney’s sanity, pension funds, 401k It’s a familiar concept that will help in
time.) I do read history books though, people in charge of steering the ship. plans, investments with Bernie Madoff doing away with waste, graft and profi-
Blinded by the dream, we allowed our or anyone who promises high returns, teering, and just as soon as we get Ameri-
captains to take our hard earned wages that justice will be done, reality shows, ca rebuilt, we can resume our audio lives.
and abandon ship, leaving us adrift in retail, religious leaders, politicians, the In the meantime, since the captain and
a stormy sea without a compass. Or in news, the weather, Al Sharpton’s mo- crew have taken the life boats and left
COMING NEXT other words, “Up sh*ts creek without a tives, Rush Limbaugh, pet chimps or everyone else to tread water or go down
MONTH... paddle.” So be it! Our captains jumped one’s mortgage agreement. with the ship, my advice would be to keep
ship not only with all the money, but your eye on the prize, but do not com-
with all the supplies as well, and then Going Down? promise. Be competitive, but not deceit-
FOH Interview they had the audacity to ask for a So, while the ship is taking on water ful. Our word is our bond; therefore we
Jon Martin writes a blog bailout, which they only distributed and the captains are all awarding them- should honor our agreements and build
amongst themselves. In a more honor- selves bonuses, who is it we can trust? trust. Work hard and produce something
when he is not mixing able time, the skipper would go down The obvious answer is the audio industry. of quality and value. Choose a catchy slo-
the Plain White Ts and with the ship, and his loss would ensure That’s right, we can trust in ourselves and gan that builds confidence in your com-
watching bar fights. that he would never again be entrusted what we do because what we do is hon- pany and advertise (in magazines such as
with the command of another vessel. est. It’s pretty hard to fake good sound, this one) that you are a business that can
Now, due to a loss of faith in the sys- and I’m not referring to auto-tuning a vo- be relied upon even in the most difficult
tem, we have become cynical and dis- cal or singing to a track, because it’s not of times. Some suggestions I might offer
Installations trusting. Investors are suspicious of the our fault if one cannot trust in the artist’s for a trust-worthy and beguiling slogan
Is it possible? A good stock market — and rightly so. We the talent. What I’m getting at is that it is our might be, “Audio you can believe in,” or
sounding system in the people do not trust our steroid-infused responsibility to go into any given venue simply put, “Sound you can hear.” Lastly,
athletic heroes. The car manufacturers and properly install an audio system and good luck and have faith in your ability
venerable Whiskey-a- are less than trustworthy and the CEOs make sure that it sounds good. If the sound to swim.
Go-Go?

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