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Stan Miller to Receive Parnelli
Audio Innovator Award
By Kevin M. Mitchell
PEOPLE. PRODUCTION. GEAR. GIGS.
AUGUST 2009 Vol. 7 No.11
Blake Suib Runs Away and Joins the Circus
LAS VEGAS—The Parnelli Awards Board of Directors
announced that Stan Miller, longtime sound engineer for
Neil Diamond, will receive the Parnelli Audio Innovator
Award.
“Stan wasn’t on the cutting edge, he was on the
bleeding edge,” said Larry Italia of Yamaha Pro Audio,
who Miller consulted with in developing digital audio
technology. “He is fearless, has remarkable instincts, and
Stan Miller
possesses a wonderfully curious mind.”
With Neil Diamond, Miller designed the sound system and worked the sound console
for all of his historic and record-breaking world tours. He was also behind the recording
of one of Pop music’s greatest albums, Hot August Night, recorded at the Greek Theatre in
Los Angeles in 1972. Miller has also worked with legends including John Denver, Johnny
Cash, Sonny & Cher, and Bob Dylan, among others. He was audio designer/consultant for
what The New York Times called “a milestone in rock’s history,” Pink Floyd’s The Wall — Live
concert in 1981.
Miller was one of the first to hang speakers, and was the first to use multi-core snakes
allowing for easier cable hook up. Later, he also consulted with the pro audio company
JBL to create advanced speakers and rigging for touring as well. He pioneered
the used of fiberglass covering for road
cases and loudspeakers, making them so
reliable that many of his boxes are still on
the road 30 years later. He is known for
his pioneering work in digital audio, and
his work with Yamaha led directly to today’s popular PM1D and PM5D pro audio
all digital consoles.
Miller will receive his Parnelli Award
at a gala dinner Nov. 20 in Orlando, Fla.
For more information on the Parnelli
Awards, go to www.parnelliawards.com.
“It’s Like Brown
Baby Powder.”
FOH engineer Blake Suib has a resume that includes artists from Prince to Annie Lennox and
was presented with a huge challenge—covering 360 degrees without blocking very large video
screens that play a big part in the The Circus Starring Britney Spears tour. FOH caught the show in
Oakland and then sat down with Blake a few days later in Las Vegas. For more, turn to page14.
Pro Tools “Exclusivity” Broken?
By Bill Evans
A video started making the rounds as FOH
was going to press that appears to at least imply
that the unbreakable tie between certain Digidesign software and approved hardware has been
cracked. Or maybe it is a marketing strategy. Bottom line is that at least on the lower-end of the
audio spectrum, you can now run Pro Tools (and
the plug ins that have become such a hot ticket in
the live audio realm) using a Mackie Onyx mixer as
the front end. Not many FOH readers can do the
gigs they do on a mixer this small, but the implications are huge. Until now, if you tried to launch
Pro Tools without a piece of Avid/M-Audio hardware attached, it just wouldn’t open. If the driver
that Mackie is shipping with this new mixer—the
Mackie Universal Driver V1.0—is what it appears
to be then the implications for live event audio are
huge, as it should be at least theoretically possible
to access Pro Tools (and all of those lovely plug ins)
from “non-approved” hardware.
I placed calls to both Avid’s PR company and
to Loud, the parent company of Mackie. Avid was
“internally reviewing” the information and could
not comment before we went to press. Loud said
that while the new driver was not developed in
conjunction with Avid, they are “very open to communications” and that currently the only product
shipping with this capability is the Onyx i mixer.
But, again, the potential implications are huge.
Stay tuned...
K-Array Speakers Make
U.S. Debut at Milwaukee’s
Summerfest
MILWAUKEE, WI — Sennheiser’s Karray self-powered live performance
speakers made their U.S. debut at
Milwaukee’s 11-day Summerfest. The
event’s principal production provider,
Clearwing Productions, put the K-array
systems to use at JoJo’s Martini Lounge,
one of 11 stages at the lakefront festival
park. Clearwing also integrated a full
complement of Sennheiser evolution
900 and 600 Series wired microphones
into its audio system at the U.S. Cellular
Connection Stage.
The K-array rig deployed at the JoJo’s
Lounge stage at Summerfest comprised
two KH4 mid-high, four KS4 low-mid and
a single K070 Overbass Series dual 21-inch
sub per side, delivered power that belied
the size of the cabinets, which are only six
inches deep. Those dimensions also eased
continued on page 25
installation.
Size and weight and reliability of gear
is important in any touring situation. But
add the scorching heat and omnipresent
sand of Iraq and Kuwait and you get a real
test. (Not only of the gear but of the people running it.) Check out Jon Bullock’s
account of his tour in Iraq on page 16.
Canadian Stage
Collapse
5
A line squall caused the main stage
to collapse at the Big Valley Jamboree
country music festival in Alberta, killing one and injuring about 75.
Road Tests
20
KS Audio’s compact CPA12 offers coverage control and lots of power. And
the X2 XDR 955 takes the handheld
wireless mic into the digital realm.
www.ProAudioSpace.com/join
Ad info: http//www.fohhotims.com
Ad info: http://foh.hotims.com/
www.fohonline.com
AUGUST 2009,
Vol. 7.11
What’s Hot
Installations
Features
14 FOH Interview
Feature
“She has always told me she wanted it to sound like a
dance club.” So decreed Ms. Spears, and Blake Suib made
it so.
16 Production Profile
Providing some much-needed entertainment for the
troops is a noble endeavor, and when those troops are
in Kuwait, it can also be hell on gear. Check out how one
audio foot soldier made it work.
18
At University Heights Baptist Church in Stillwater, Okla.,
the existing gear was more suited for a band in a van
than a church service. Procure Distributing’s upgrade
met the challenge of coverage and intelligibility.
20, 21 Road Tests
It is all about coverage control and lots of power in a
small small box with the KS Audio CPA12. And the X2 XDR
955 from Line 6 takes the handheld wireless mic into the
realm of digital.
Columns
22 Theory and Practice
FOH At Large
Breakers are trippy, dude. Here’s an answer to the oftasked question on how much audio power or amperes of
loading a typical circuit can handle.
What’s Hot
26 Sound Sanctuary
Once you understand the path of the audio signal in your
house of worship, all those cables and wires will become
much less intimidating.
Departments
28
Ad info:http:// foh.hotims.com
Vengeance and greed have one thing in common:
outrageous math. But is it really necessary to sentence
scoundrels in their 70s to hundreds of years in jail?
4 Editor’s Note
5 News
6 House of Worship News
8 International News
10 On the Move
11 New Gear
12 Showtime
2
JULY 2009
www.fohonline.com
Editor’s Note
By BillEvans
Peer to Peer…
F
or the past couple of weeks I have
been working with a couple of
“veteran” sound guys trying to put
together a tribute to one of the giants of
live event audio industry. I have always
thought that we tend to wait too long
to pay tribute to people who deserve it
and that we should do it while they can
still see and appreciate it. It has been a
moving and humbling experience.
As we have gathered materials,
something was tickling the back of my
brain that I couldn’t identify. Something
that working on this project was trying
Publisher
Terry Lowe
[email protected]
recognizing the people in our industry
whose work has been notable both recently and over the course of a career. I
speak of the annual Parnelli Awards.
I know, I say this every year, but it is
damn important, so I am saying it again.
I hate award shows. Won’t watch ‘em
on TV and avoid attending them as often as I can. Because they are so often
just crap. But I am passionate about the
Parnellis because they bring the only
legitimate chance for people in the live
event production industry to recognize
their own. And it goes deeper than just
A vote from the green A2 counts
just as much as one from
his or her boss.
to tell me and I could just not get it. Of
course, when it finally broke through
my thick skull, it was just hours before
this issue needed to go to the printer. I
had already turned in an Editor’s Note,
and now the art and production departments get to re-do it on deadline (and
that department includes my lovely
wife, so I will likely be in trouble at
home, too).
We have talked may times before
about how FOH is not just another business-to-business trade magazine. The
thing that sets us apart, IMHO, is that
FOH is written and produced by people
who do what you do. I have a couple of
pro writers that I turn to, but most of our
regular contributors spend their days
prepping gear, setting stages and doing
shows, just like all of you.
And once a year we get to kind of
formalize that peer-to-peer idea by
that. Unlike other awards shows, including the Oscars and Grammys, you do
not have to be a member of some organization where you have to pay dues in
order to vote. It doesn’t matter if you
are the owner of a huge national sound
company or a guy pushing cases around
and running cable. If you work in this
industry and care enough about it to
subscribe to FOH, you get to vote. And
a vote from the green A2 counts just as
much as one from his or her boss.
If there is something else like the
Parnellis, then I don’t know about it.
And I can tell you this, people in the
business really care about who wins and
loses. I can’t tell you how many members of our tribe have casually told me
how much they wish they could even be
nominated. Or how many times I have
gotten bitched out by someone who
thought they should have won. And I
take both of those as compliments. Not
for me, but for the whole idea behind
the Parnellis.
Nominations are officially opened
with this issue, and I encourage you to
let us know who you think is worthy
of being honored this year. Of course I
have my own ideas, but I get surprised
every year when someone gets a bunch
of votes at the nomination stage and I
have to ask around to find out who he
or she is. And you know it never fails
that I end up feeling stupid because
the nominee is someone that I should
know.
Over the years we have handed out
awards to some of the best in the biz
and it is always a thrill for me to hand
over the plaque. And not just to the
“big” winners. One of the most gratifying things I get to do every year is hand
an award to someone from a regional
sound company that is doing great
work and might never be recognized
in any other forum. As much as I hate
Orlando and going to LDI. I must admit
that I am once again looking forward to
the actual awards and being able to be
even a small part of them.
I hope to see you there and before
I wrap this up a big thank you to the
audio companies who have recognized
the importance of these awards and
help make them possible. We could not
do it without them. If you have never
attended the event, you need to. You
will never find another place with so
many of your peers present or where
the unsung in our industry will get their
moment of recognition. It’s even worth
going to LDI….
Bill Evans can be reached at bevans@
fohonline.com.
Editor
Bill Evans
bevans@ fohonline.com
Managing Editor
Frank Hammel
[email protected]
Technical Editor
Mark Amundson
[email protected]
Editorial Assistant
Victoria Laabs
[email protected]
Contributing Writers
Jerry Cobb, Dan Daley,
Daniel M. East,
David John Farinella, Steve LaCerra,
David Morgan, Baker Lee, Jamie Rio
Art Director
Garret Petrov
[email protected]
Production Manager/
Photographer
Linda Evans
levans@ fohonline.com
Web Master
Josh Harris
jharris@ fohonline.com
National Sales Manager
Jeff Donnenwerth
[email protected]
National Advertising Director
Gregory Gallardo
[email protected]
Advertising Manager
Matt Huber
[email protected]
General Manager
William Hamilton Vanyo
[email protected]
Business, Editorial and
Advertising Office
6000 South Eastern Ave.
Suite 14J
Las Vegas, NV 89119
Ph: 702.932.5585
Fax: 702.554.5340
Circulation
Stark Services
P.O. Box 16147
North Hollywood, CA 91615
Front Of House (ISSN 1549-831X) Volume 7 Number 11 is published monthly by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas,
NV, 89119. Periodicals Postage Paid at Las Vegas, NV and
additional mailing offices. Postmaster: Send address changes to Front Of House, P.O. Box 16147, North
Hollywood, CA 91615-6147. Front Of House is distributed
free to qualified individuals in the live sound industry in the
United States and Canada. Mailed in Canada under Publications Mail Agreement Number 40033037, 1415 Janette Ave.,
Windsor, ON N8X 1Z1. Overseas subscriptions are available
and can be obtained by calling 702.932.5585. Editorial submissions are encouraged, but will not be returned. All Rights
Reserved. Duplication, transmission by any method
of this publication is strictly prohibited without the
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Publishers of...
4
AUGUST 2009
www.fohonline.com
News
2009 Parnelli Award Nominations Now Open, New Sponsors Added
By Kevin M. Mitchell
LAS VEGAS — “Let the nominating begin.”
Nominations are now being accepted
online to honor those individuals and companies for exceptional work in the pro audio
field, so go to www.parnelliawards.com and
click on the Parnelli Award nomination link
today.
The categories include best monitor mixer, sound company, system tech, FOH mixer,
coach company, trucking company, freight
forwarding, tour manager, and production
manager. The “IT” Awards are new this year.
Standing for “Indispensable Technology,”
these awards recognize innovative and roadworthy audio gear.
Since 2001, the industry’s highest achievers and most admired innovators have been
awarded the Parnelli. The award recognizes
pioneering, influential professionals and their
contributions, honoring both individuals and
companies. It is truly the Oscars® of the Live
Event Industry.
The award itself is named for Rick “Parnelli” O’Brien, a talented production and tour
manager who was struck down with cancer
and far too early in life. His professionalism
and talent, his sense of humor and sense of
fair play set the bar for all.
“Launching the nomination process is
always an exciting time, and we are just as
excited to see who gets nominated as anyone else,” said FOH publisher Terry Lowe,
who is also executive producer of the Parnelli
Awards. “Since the nominating process, and
then the voting for who shall take the Parnelli
home that night, is done strictly by professional peers, it makes the award that much
more of any honor.”
The deadline for nominations is Aug. 31.
Shortly thereafter the nominees will be announced and the voting will begin.
The ninth annual Parnelli Awards will be
presented at the Peabody Resort in Orlando,
Fla. on Nov. 20, 2009. Sponsorship opportunities for the event are still available in the Gold,
Silver and Production Partner levels.
To date, the Gold Sponsors include: EFM
Management, Strictly FX, Brown United, Precise Corporate Staging, Dedicated Staging,
Sound Image, Rock-It Cargo and Sennheiser.
All Access Staging & Production and Yamaha
Commercial Audio Systems are Silver Spon-
sors. Production Partner Sponsors include
Paradise Sound & Lighting (audio); TechniLux (lighting); Aerial Rigging (rigging); Stage
Crew (labor); and PRG (projection).
“We are grateful to have such an array
of industry pillars show their support for the
Parnellis and give back to the live event community like this,” said Lowe. “These are all innovative, progressive companies who appreciate the value of taking an evening out once
a year to honor those talented professionals
who work behind the scenes to entertain and
inform so many audiences.”
For more information on the Parnelli
Awards, go to www.parnelliawards.com.
One Killed, Scores
Injured in Canadian
Stage Collapse
CAMROSE, AB, Canada — A woman attending the Big Valley Jamboree country music festival was killed when a storm caused the main
stage to collapse just before 6 p.m. on Aug. 1. An
estimated 75 were injured.
Most of the injured were treated on site,
but 21 were taken to hospitals, and two were
reportedly in critical condition. Festival organizers cancelled all events that had been set for the
closing day of the festival, Aug. 2.
Family members identified the victim as
Donna Moore, a marketing assistant and photographer for the Lloydminster Chamber of
Commerce, a town on the Albert-Saskatchewan
border. She was killed when stage speakers fell
as the structure was collapsing.
Among the injured was a player in Billy Currington’s band, who was performing onstage,
and two members of Kevin Costner’s band,
Modern West, which had been set to play next.
Both Currington and Costner escaped serious
injury.
Four workers for Premier Global Production,
the lighting and staging supplier, were also injured, as was one employee for Panhandle Productions Ltd., which produced the event. The
audio supplier for the event was Clair Brothers.
Although the damage appeared to have
been caused by high winds from a line squall,
and not a direct hit by a tornado, The Canadian
Mounted Police reported that a tornado had
formed south of Edmonton, and issued a warning at 5:55 p.m.
During a news conference the next morning, Larry Werner, with Panhandle Productions,
said he and others had been in the process of
clearing the stage when the squall topped the
stage, between 5:57 and 6 p.m., but there was
not enough time to get the 100 or so people on
or near the stage to safety before it collapsed.
Police and Alberta Workplace Health and
Safety are investigating to see if there were anything beside the wind that might have contributed to the collapse.
About 21,000 attended this year’s Big Valley Jamboree, according to organizers. Close to
15,000 had been camping nearby for the event,
which takes place 60 miles southeast of Edmonton.
www.fohonline.com
2009 AUGUST
5
House of Worship News
Mega Audio Supplies Soundcraft Console For Church Anniversary in Honduras
LA LIMA, Honduras — Mega Audio recently supplied the audio reinforcement system,
including a Soundcraft Si3 digital console, for a
concert commemorating the 70th anniversary
of the Evangelical Reformed Church of La Lima
in Honduras.
The two-night, one-day Evangelistic Crusade Concert included the participation of
Ministers of National Praise, Worship Ministry
Children’s Church and Evangelical Reformed
Church of La Lima, Lourdes Ministries, Carlos
Martinez and Ministry Juda and Roca Fuerte
Shekina.
Based in San Pedro Sula, Honduras, Mega
Audio specializes in the rental of professional
audio, lighting and large video systems for
projects including conventions, conferences,
seminars, concerts and evangelistic religious
events throughout Honduras.
For this event, Mega Audio needed a system flexible enough to facilitate quick transitions between numerous performers, and
used the Soundcraft Si3 at FOH. “We chose the
Si3 for its exceptional sound quality and for its
speed and ease of setup,” said Luis Roberto Lopez Sanchez of Mega Audio.
“We had a large number of bands playing
at this event, but thanks to the Si3, we were able
to make quick and easy transitions between
performers,” Sanchez said. “We could also easily make individual adjustments according to
the preferences of each musician and singer.”
Both client and attendees, Sanchez added,
“were satisfied with the quality
and fidelity of the sound.”
The Si3 is designed for live
use on both touring sound systems and in fixed installations.
Above each fader on the Si3 is a
rotary encoder, the function of
which changes according to the
mode selected. This “bank” of encoders, known as the VCS or Virtual Channel Strip, can be set to
control every function of a channel (known as Channel mode),
so mic gain, EQ, dynamics, auxes,
panning are all controlled in the
same manner as an analog chan- Soundcraft Si3 at the Evangelical Reformed Church of La Lima.
nel strip
Church of the Valley Switches to
Digital Out of “Practical Necessity”
SAN DIMAS, CA — Christ’s Church of
the Valley has grown to the point where a
switch to digital audio became a practical
necessity. The church has multiple locations, six weekend services and a broadcast
component that includes live streaming
and re-broadcast in New Zealand and Australia.
To meet the growing number of audio paths, this evangelical contemporary
church selected two Allen & Heath iLive
consoles — an iLive-176 for the main sanctuary and an iLive-80 for the broadcast center, which is located in a separate building.
Patrick Gourley, technical director for
the church, worked with Anaheim-based
Sound Bridge during the console selection
process.
“All our engineers are volunteers,” Gourley said. “So in addition to all the technical
requirements, we had to find something
with a fast learning curve. We field-tested
eight or nine digital consoles, either at
trade shows or going to an existing installation in the area, and kept coming back to
the iLive.”
For the main sanctuary, an iLive-176 was
selected. “What drew me to iLive was having
all the dynamic processing on board, with
dedicated knobs for everything on the channel
strip,” Gourley noted. “Coming from an analog
background, it made the most sense in terms
of layout. For most of our engineers, we could
get them up and mixing in under an hour.”
Installation was relatively simple, consisting of replacing the old analog console with
the control surface and installing the iDR10
mix rack into the existing racks at FOH.
“Our existing snake was already terminated at the console,” he said, “so there was
no need to locate the mix rack remotely.
With all the effects being onboard the iLive,
we had plenty of space available in our old
effects rack.”
When the church’s broadcast needs expanded, they stayed with Allen & Heath.
“We bought the iLive-176 knowing we
would be adding a broadcast console. That
was one of the big selling points,” Gourley
said. “Originally, we were running three different matrices on the iLive-176, but adding an iLive-80 with a dedicated engineer
for the broadcast mix really gave us the
flexibility and quality control we needed.”
The broadcast audio is mixed in a separate building about 500 feet from the sanctuary. The two consoles are connected with
a single Cat5 cable, with a Linksys hub to
boost the signal a bit.
The inputs are sent from the stage to
the iLive-176 and relayed to the iLive-80
there. The stereo mix is then sent back to
the video booth in the church for capture
along with the switched live video on an
Apple G5 computer. “What’s amazing is,
even though we’re sending the audio 500
feet there and 500 feet back, we can’t sense
any audible delay.”
Technical director Patrick Gourley with one of the two iLive-176s.
6
AUGUST 2009
www.fohonline.com
FILO Pro Audio Uses
Riverbend Centre for
NEXO, Yamaha Demo
Rayvon performed using the NEXO GEO S 12 with NX
4x4 amps and a Yamaha M7CL console.
AUSTIN, TX — Riverbend Centre
is a new addition to the alternative
performing arts scene in the Texas
Hill Country. The Centre is a multi-purpose venue that plays host to musical
groups, theatrical productions, television specials, corporate and private
events and conventions.
Inspired by his travels through
the Holy Lands, Dr. Gerald Mann envisioned a modern version of a GrecoRoman amphitheatre. In 1997, Overland Partners was commissioned by
the Riverbend Church to design and
build the venue. Designed in a classical style, it seats over 2,300.
Recently, the Centre played host
to a special NEXO presentation by
FILO Pro Audio of Austin. Accustomed
to holding many high-end events in
the venue, Riverbend was set up for
a demonstration of a NEXO GEO S 12
System with NX 4x4 amplifiers and a
Yamaha M7CL digital audio console. A
performance by former Motown artist
Rayvon who took center stage, provided the backdrop for the event.
“We have covered private, corporate and concert events with nothing
but praise for our NEXO GEO S rig,” said
Howard Fletcher of FILO. “The system
is currently booked for 26 events, and
its performance has exceeded our expectations.”
International News
RG Jones Takes On The War Of The Worlds, Alive On Stage
paid homage to Wayne’s
Worlds in arenas around the
UK and Europe. RG Jones,
meanwhile, supplied a Synco by Martin Audio-based
sound system for the touring
spectacle.
The production inRG Jones supported The
War of the Worlds — Alive cluded a 10 piece band, 36
on Stage with Synco gear piece string orchestra, five
by Martin Audio. singers, a flying bridge, an
80-foot-wide video screen,
a 3D holographic projection
LONDON — In 1978, Jeff Wayne’s Musical
Version of the War of the Worlds made its debut. of narrator Richard Burton and a 10-meter-high
This year, The War of the Worlds — Alive On Stage Martian fighting machine with pneumatic legs,
all supported by nine trucks and 44 crew.
“I’ve been attempting to convey the honeyed tones of Richard Burton to thousands of
people along with the huge sound of the band
and orchestra and surround sound effects —
with a reasonable level of success, I feel,” said
RG Jones engineer Simon Honywill, who mixed
FOH.
“Arena acoustics don’t always lend themselves to intelligibility, and the devotees of the
original work are very quick to criticize if they
miss a single syllable of the iconic script, but it
was a privilege to be able to have the voice of
Burton under my fingers, and every show was a
unique challenge,” Honywill added.
Steve Nolan, the show’s technical director of the show, asked Honywill to take on the
task. “I leapt at it,” Honywill said, “because it’s a
completely brilliant thing to do — it’s a totally
unique piece of work, the whole sonic imprint
of it and the component parts of the orchestra,
rock ‘n’ roll band, the narration and the effects
add up to an incredible show that’s impressive
in many ways.
“It’s very true to the original work, with just
a few little extra items added on here and there,
but essentially it all has to work around the Richard Burton narration so everything’s click track
and time coded, allowing automation to play
an important role in managing the 112 or so
inputs,” Honywill added.
Adapting to venues ranging from the
Bournemouth CIC to London’s O2 Arena kept
production manager Kevin Hopgood and his
team busy. Special effects were incorporated
from the original album multitracks into the live
show, as well as some musical elements so as to
keep the musician count practical. But most of
the show was performed live via the band and
orchestra, precisely timed to the CGI movie that
runs all the way through, amid numerous effects,
props and the Martian fighting machine and
bridge that move into position during the show.
Clear sightlines to the large projection and
set were vital, and conventional positions for
the PA hangs were not available. Instead, the RG
Jones team flew the main PA of up to 48 Synco
W8LCs and 16 W8LMs, depending on venue,
very wide and high upstage, supplemented by
a pair of eight deep Synco W8LM hangs arrayed
as stereo infills. L-Acoustics ARCS provided surround-sound effects.
“We wanted the PA to be as discrete as possible, whilst needing it to deliver,” Honywill noted.
“The infills were angled down quite heavily just
to cover the first block and we added some front
fill on the stage lip and covered the main arena
with the big arrays.
“In the original, the low frequencies are very
tight and well defined and we worked to make it
sound like that, with a highly tuned PA, in order
to mix this huge
continued on page 10
Montreux Jazz Festival
Adapts Quickly to
DiGiCo Gear
MONTREUX, Switzerland — It didn’t take
long for Patrick Vogelsang, head of audio for
the Montreux Jazz Festival, to put new sponsor DiGiCo’s gear to use for the diverse music
event.
“We were up and mixing on the demo
console in 15 minutes — and for a festival, the
shortest learning curve is crucial,” Vogelsang
said. “We then asked a lot of questions as to
how flexible the system could be and both
consoles remove a lot of the work we had to
put in place in the past.
“When we saw the SD7 and SD8 with the
FPGA design, it was clear that for once we had
a platform that would exceed our requirements at the Festival,” Vogelsang added.
Festival founder Claude Nobs was bullish about the gear as well. “We are up in the
mountains, up with the cows and up in the
sky,” Nobs said. “But for me it is so important
that the Festival remains leading edge, that
we adopt new technologies that bring improvements to the audience’s experience.
“I’m excited about the Festival this year as
we have an amazing line up and I’m looking
forward to experiencing the DiGiCo difference over the Festival,” Nobs added. “I’d like to
thank the Festival audio team and DiGiCo for
making it happen.”
On The Move
Adaptive Technologies
Group
named Bob Allen national sales manager.
He is responsible for
overseeing sales in
North America for
Adaptive Technologies Group, Allen
Products Company
and ATM Fly-Ware.
The company also
named Mike Hendricks director of
manufacturing
for
JSD Fabrication.
Bob Allen
Mike Hendricks
International Audio Group Ltd. (IAG),
the parent company of
Wharfdale, Quad, Mission and several other
professional lighting
and audio brands,
Daniel Chang and
recently
welcomed
Michael McCook
SurgeX to its roster.
With facilities in London and Shenzhen, IAG
will now be manufacturing and distributing
SurgeX products globally, with the exception
of North America, where Electronic Systems
Protection, Inc. (ESP) of Zebulon, N.C. continues to handle the brand.
LOUD Technologies Inc. named Kurt
Metzler North American Sales Manager,
EAW. Metzler will lead
the existing EAW internal sales support
Kurt Metzler
team, North American
rep force and distributor network. Metzler
will report to Ernie Lansford, LOUD’s director
of North American sales.
Metzler joins LOUD from Meyer Sound
where he managed Meyer’s A/V consultant
relationships. This is his second stint at LOUD
— prior to joining Meyer, Metzler spent three
years as LOUD’s national sales manager, Installed Sound.
RCF named Alessandro Barbieri as the
new sales area manager for the Far East. Barbieri’s previous experience includes positions
for other Italian firms operation in Europe, the
Middle East, Africa and Asia.
Shure Inc. named
James Ahlborn vice
president of finance
and chief financial officer (CFO). He will lead
the company’s finance
division and have full
responsibility
interJames Ahlborn
nal auditing, financial
planning and analysis, treasury, payroll, financial reporting, cost accounting, customs,
accounts payable and receivable, tax analysis, and credit. He will also provide strategic
counsel as a member of the executive staff.
Before joining Shure, Ahlborn served as
vice president of finance and CFO at Tuthill
Corp. Before that, he worked at Deloitte &
Touche, where he held various finance and
auditing positions.
Yamaha
Commercial Audio Systems, Inc. named
Kevin Kimmel mixer
product manager. Kimmel will be responsible
for product training,
the implementation of
Kevin Kimmel
marketing and support programs, and recommendations for mixer product design from
the North American market to the research
and development team in Japan. He will report to Marc Lopez, marketing manager, Yamaha Commercial Audio Systems, Inc.
RG Jones Takes On The War Of
The Worlds, Alive On Stage
continued from page 8
musical picture on top of it,” Honywill added. “I
wanted to put my mark on it, and I wanted it to
be as live as possible. The number one priorities
were making sure Richard Burton’s voice was absolutely intelligible, and the sound of the orchestra. I wanted to keep it faithful to the sound of the
original, but live.”
To help maintain a clean stage sound, there
were no wedges, with all musicians and vocalists
on in-ear monitors, using a mix of Sennheiser
and Shure radio mics and DPA cardioid headsets,
Sennheiser wired and wireless in-ears and a Canford in-ear orchestral monitor system.
Orchestral miking was achieved using DPAs,
with violins and violas on 4061s and cello and
basses on the new 4099 miniature cardioids.
The guitarists were equipped with Line 6 Pods,
while the acoustic drum kit featured electronic
cymbals, and the harp was miked with a pair of
C-ducers. Steve Watson mixed stage sound on a
DiGiCo D5 with an external processing rack.
Honywill mixed FOH on a Digidesign combination of a D-Show and a Profile, using automation throughout across 25 scenes, set up for each
section of the show. “It ended up being mixed
on about 12 faders of the D-Show with an extra
sidecar for the playback and vocals, while the orchestra was on the Profile,” he noted. “Both consoles were chasing timecode. The D-Show, being
the bigger console, had most of the automation,
on two layers, with the layer I couldn’t see handling mostly the playback, a couple of vocal effects and the sound effects.”
In conclusion, Honyhill reported that “it’s one
of the most challenging things I’ve ever done —
but everyone was really happy with the result,
and I felt very in my element and at home dealing
with it…it’s kind of ingrained into my psyche!”
10
AUGUST 2009
www.fohonline.com
Bartlett Microphones TM-125C with Attached Cable
In response to requests by sound contractors and sound designers, Bartlett Microphones
has updated their recently-introduced model
TM-125C stage-floor microphone for area pickup
of actors and dancers in
drama or musicals with a 6-foot permanently attached cable, to
prevent connector damage if an actor steps on the cable.
The Bartlett Microphones TM-125C is a supercardioid boundary mic designed to be smaller, lower-cost and more durable, and
with smoother frequency response than industry-standard floor
mics.
With its steel housing and low-profile construction, the TM125C is designed to withstand stomping that would seriously impair other microphones. All electronics are inside the housing.
bartlettmics.com
Hosa Technology SKO-200 Series Speaker Cables
Hosa
Technology’s
SKO-200 Series speaker
cables, designed for biamping and high-current
applications, consist of four
12 AWG oxygen-free copper (OFC) conductors. They
are cut to 3, 5, 10, 15, 20, 25,
30, 50, 75, and 100-foot lengths and are available in all standard
terminations, including 4-pole Neutrik Speakon, dual quarter-inch
TS (mono phone plugs), and quad banana.
Custom terminations are available through select Hosa Tech-
nology dealers. Additionally, the SKO-200 Series speaker cable is
available in bulk on 200-foot spools. Prices range from $45 to $405
MSRP, depending upon length and termination. Bulk cable, available through select dealers, retails for $3.45 MSRP per foot.
hosatech.com
Meyer Sound JM-1P Arrayable Loudspeaker
Meyer Sound’s JM1P arrayable loudspeaker, a self-powered high-Q
system, is designed to
be used in tight-packed
clusters where horizontal
coverage must be predictably scaled to exacting requirements. With a
20-degree horizontal by
60-degree vertical pattern, the JM-1P promises controlled coverage with minimal reverberation in large or reflective acoustical
environments.
Designed to offer a consistent polar response and trapezoidal
enclosure, the JM-1P is designed to provide horizontal coverage
that is proportional to the number of units deployed. Single JM-1P
cabinets can be used as a point-source system in either horizontal or vertical orientations. The JM-1P is made to be used at theatres, houses of worship, theme parks, stadiums, concert halls, and
nightclubs. In touring sound, it also offers flexible solutions for center- and side-fill systems.
The JM-1P’s high-frequency section is driven by a 4-inch diaphragm compression driver and a 15-inch, long-excursion cone
transducer for the low-mid section. Power is supplied by a dualchannel class AB/H amplifier with a total power output of 1275
W (2550 W peak), while onboard processing includes electronic
crossover, comprehensive driver protection, and correction filters
for flat frequency and phase responses.
The JM-1P has an operating frequency range of 55 Hz to 18
kHz and a maximum peak SPL of 136 dB (at 1 m). The optional RMS
remote monitoring system allows comprehensive monitoring of
system parameters on a Windows-based computer. The JM-1P can
be controlled with the Galileo digital loudspeaker management
system and presets for JM-1P arrays will be available to provide
mid-bass and bass management.
meyer-sound.com
Proel Active Edge Systems
Proel’s new Edge series models include two medium-sized
speaker systems (C12A and C15A) and two stage monitors (12CXA
and 15CXA), with a PWM switching amplifier (Class D) that can
supply over 2000W of continuous power. All are equipped with
built-in amplification, processing circuitry and excursion control,
implemented through analog technology.
New Gear
QSC Q-Sys
QSC
Q-Sys
targets large and
small
applications and budgets
with digital audio
signal
routing
and processing
combined with
system monitoring and control. Using new converters and Gigabit Ethernet,
Q-Sys produces a total system latency of less than 2.5 milliseconds between any input and output, with up to 10 network
switch hops and high quality processing throughout.
The Q-Sys Core processing engine is available in three
sizes ranging from 64 inputs x 64 outputs to 256 inputs x 256
outputs. It works in tandem with Q-Sys I/O Frames: 1 RU modules that can accommodate up to 16 channels of audio using
factory-configured, four-channel Q-Sys cards supplying a variety of input and output options.
The use of AES cards can permit up to 32 channels of audio in a single Q-Sys Node. As with the Q-Sys Core, I/O Frames
are equipped with dual Ethernet ports to support network
and system redundancy.
With the appropriate output cards, and Q-Sys is compatible with any analog-input power amplifier or powered loudspeaker, and optimized when QSC Dataport amplifiers and
loudspeakers are inherent within the design. To use a QSC line
array, for example, the Q-Sys design GUI can virtually connect
it to QSC amplifiers, and Q-Sys automatically provides the
proper Intrinsic Correction tuning.
Centralized processing lets audio designers route any
input to any output, without the need for creating complex
signal paths, while also eliminating the need for system segmentation.
The Q-Sys also offers the Q-Sys Designer, software that can
be used online or offline. Parameters including channel count,
frequency bands, and more, which can be scaled on the fly, and
users can build control panels with a drag and drop interface.
When completed, the Q-Sys Core will publish the control
panels to any browser-capable device such as the 10-inch and
6-inch color touchscreens from QSC. Q-Sys also supports the
use of third-party control devices like those from AMX or Crestron using a TCP/IP-based control protocol.
Designed for reliability, quick setup and configuration, QSys is available from authorized QSC dealers and distributors
worldwide. A video demo of the system from the recent InfoComm is posted on ProAudioSpace.com in the Blog section.
www.qscaudio.com
The Edge SW121, a 21inch direct radiating subwoofer, rounds out the five-model
introduction of Edge series
of pro audio gear. Proel said
the stronger cone suspension
mechanical system, the double demodulating ring, and
overdamped box in which it
is housed combine to give the
SW121 the ability to provide a
large amount of defined and
controlled energy.
www.proelgroup.com.
Waves Expands Modeling Series with CLA
Classic Compressors
Waves Audio introduced its CLA Classic Compressors, developed in collaboration with mixing engineer Chris Lord-Alge, who
has worked with artists including Green Day, Tina Turner, James
Brown, Nickelback, Rod Stewart, Santana, Steve Winwood, Celine
Dion and others. The resulting four plug-ins include the CLA-2A,
the CLA-3A, the CLA-76 Blacky and the CLA-76 Bluey.
Waves CLA-2A Compressor/Limiter
Modeled on the first
electro-optical tube compressor, the CLA-2A emulates the original’s smooth,
frequency-dependent behavior. Like the mid-1960s
classic, the CLA-2A is wellsuited to guitars, bass and vocals. The zero latency native plug-in
features Lord-Alge’s personal presets.
Waves CLA-3A Compressor/Limiter
Based on the early
1970s solid-state unit
known for its highly
transparent compression
curve, the CLA-3A delivers a quick response and
a subtle harmonic distortion. Like the original, the
CLA-3A is for bass, guitars and vocals. Unlike the original, users can
fire up as many instances as their systems can handle.
Waves CLA-76 Compressor/Limiter-Blacky
Inspired by two highlydesirable revisions of the
mid-1960s Class A line level
limiting amplifier, both
versions of the CLA-76
(“Blacky” and “Bluey”) offer
fast attack. They also feature an “All” control that recreates the original’s “All-Ratio-Buttons-In” mode, plus modeled pre-amp distortion
for extra edge, for powerful drum sounds.
Waves CLA-76 Compressor/Limiter-Bluey
The Waves Chris LordAlge CLA Classic Compressors have a U.S. MSRP of
$800 Native / $1,600 TDM.
They are available separately as well, as part of Waves
Mercury. Mercury owners covered by the Waves Update Plan receive CLA Classic Compressors at no additional charge.
waves.com
www.fohonline.com
2009 AUGUST
11
Showtime
Lynyrd Skynyrd
GEAR
VENUE
Harrah’s Metropolis
Metropolis, Ill.
CREW
Systems Engineer: John Roberson
FOH System Techs: Wade Kilgore,
Brandon Cole
Soundco
Brantley Sound
Associates
ST
FOH
Speakers: 16 EAW KF760, 6 EAW KF761,
16 EAW SB 1000, 4 EAW JF80, 2 EAW
KF300i
Amps: 28 Lab.gruppen FP 7000
Processing: Dolby Lake
Power Distro: BSA Custom
Rigging: CM Loadstar
Snake Assemblies: Whirlwind W2
Vertical Horizon/Infinity Show Band/Stokeswood
VENUE
GEAR
Centennial Olympic Park
Atlanta, Ga.
FOH
Console: Midas Pro 6
Speakers: 20 Electro-Voice XLC-DVX
Main array, 12 Electro-Voice XLC 118
subwoofers, 12 Electro-Voice MTL2 ground stacked subwooofers, 24
Electro-Voice XLD281 delays, 4 ElectroVoice ZX1-90 front fills
Amps: Electro-Voice CP4000S, Crest
Audio Pro 200 series, Crest Pro Series
9001, Crest Pro Series 8001, ElectroVoice CP3000S.
Processing: Electro-Voice Dx38,
CREW
FOH Engineer: Thomas Smith
Monitor Engineer: Derek Babb
Production Manager: Bill Abner
FOH System Tech: Jason Cartee
Electro-Voice IRIS-Net
Mics: Shure, AKG, Electro-Voice
Power Distro: Proprietary
Rigging: CM
Snake Assemblies: Midas Pro 6 system
MON
Console: Yamaha M7CL
Speakers: 10 Electro-Voice Xw12,
Dynacord Cobra sub-drumfills
Amps: Electro-Voice CP3000S, Ashly
Powerflex 6250
Processing: Electro-Voice Dx38
NASC National Conference
VENUE
Highlands Ranch High School
Denver, Colo.
CREW
Soundco
ADI
Productions
FOH/Monitor/Systems Engineer: Jon
Glasrud
Production Manager: David Brame
FOH System Techs: Tim “Jumbo”
Martin, Jane Glasrud, Todd “Vanilla” Sais,
Gilbert Lopez, Jon Anderson
FOH
Console: Midas Venice 320
Speakers: 6 QSC HPR-152i, 2 QSC HPR122i, 6 QSC HPR 181i Subs
Processing: Ashly, dbx
Mics: Shure UHF-R wireless systems
Power Distro: ADI Custom
Rigging: CM hoists
Snake Assemblies: Whirlwind
12
ST
AUGUST 2009
www.fohonline.com
Soundco
Atlanta Sound
& Lighting
ST
MON
Speakers: 4 QSC HPR-122i
Processing: Ashly, dbx
ST
Fourth of July Celebration — Kings Row
VENUE
GEAR
Bellingham High School
Football Field
Bellingham, Mass.
FOH
Console: Soundcraft GB4
Speakers: 6 EAW LA460, 6 EAW
SB528
Amps: QSC PL380, PLX3602,
CX404
Processing: Ashly Protea, dbx,
TC Electronic M-One, Yamaha
SPX1000, PreSonus ACP-8
Mics: Sennheiser, Shure
Power Distro: 100 amp Custom
Breakout Assemblies: C.B.I.
Snake Assemblies: C.B.I.
Rigging: 1 ton chain hoists
CREW
FOH Engineer: Joe Marturano
Monitor Engineer: Tyler Musshorn
Systems Engineer: Brian Culvette
Production Manager: Michael
Yorkell
MON
Speakers: EAW 115 sub, 6 FBT
Powered Maxx 4a
Amps: 6 FBT Powered floor
monitors, QSC PLX3602
Processing: dbx
Soundco
Thunder &
Lighting
Fair St. Louis 2009
ST
VENUE
GEAR
Gateway Arch Riverfront
St. Louis, Mo.
FOH
Console: Midas Heritage 3000
Speakers: Martin Audio W8LC, WSX
Amps: Crown Audio MA-9000i
Processing: Dolby Lake
Mics: Shure, Sennheiser, AudioTechnica
Power Distro: Motion Labs
Rigging: Coffing motors
CREW
FOH Engineer: Mark Burris
Monitor Engineer: Rusty Shaw
Systems Engineer: Jim Cutshall
MON
Speakers: Cerwin Vega PS 152,
Sennheiser PMs
Amps: Crown
Soundco
Production
Solutions, LLC
Phoenix Fabulous
Fourth of July
GEAR
Steele Indian School Park
Phoenix, Ariz.
FOH
Console: Yamaha PM4000
Speakers: EAW KF850, SB850
Amps: Crown
Processing: EAW, Yamaha, dbx,
Drawmer, TC Electronic
Power Distro: Motion Labs
Rigging: CM
Snake Assemblies: Whirlwind
FOH
wants
your
gig
shots, horror stories and
resume
highlights!
Go
to
www.fohonline.com/submissions
to send us your Showtime pics,
Nightmare
stories
and
In
The
Trenches stats. Or e-mail
MON
Console: Soundcraft SM20
Speakers: EAW SM500, JH560
Amps: QSC Audio
Processing: dbx, Klark Teknik
— and that means
you!
FOH Engineer: Mike Toth
Monitor Engineer: Chris Freund
Systems Engineer: Adrian Stone
Production Manager:
Entertainment Solutions
FOH System Techs: Tony Zagarelli,
Rich Williams
[email protected]
for more info. We cover the
industry
Total Sound
Productions,
LLC
We
Want You!
VENUE
CREW
Soundco
ST
www.fohonline.com
2009 AUGUST
13
FOH Interview
Blake
Suib
Runs Away and Joins the Circus
By BillEvans
F
OH engineer Blake Suib has a resume
that includes artists from Prince to Annie Lennox and was presented on this
tour with a huge challenge—covering 360
degrees without blocking very large video
screens that play a big part in the show. FOH
caught the show in Oakland and then sat
down with Blake a few days later in Las Vegas.
(Mixing legend and current Meyer guy Buford
Jones sat in.)
FOH: So, how did we get here?
Blake Suib: Right before this, I did Janet Jackson as the monitor engineer. Went
straight to this. Promo leg. Break, then rehearsals starting in February. It’s going real
well. I really enjoy mixing FOH. I go back and
forth between FOH and monitors so I have a
good understanding of both jobs. But this is
a little unorthodox configuration in the PA.
We’re trying to cover 360 but in a way that
does not block big video screens.
FOH: Who came up with the configuration?
I have never seen a hang like that…
Blake Suib: Steve Dixon, who is the tour
director, came up with the concept of the
stage, and we, by which I mean myself and
Solotech, were asked to come up with a design that blocked the least amount of seats
but provided the quality and coverage that
she expects and that we were looking for.
The PA is made of 64 Milos that split into
four hangs of 16 per hang. Each hang of 16 is
shooting toward what we call the end zone.
Two at the 50 yard line point one way and
directly behind, two at the 50 yard line point
the other way. We use 32 Micas — 16 per
hang, pointing to the sides.
On each side of the “50 yard line” there are 32
Milos pointing toward the “end zone” and 16
Micas aimed at the sides.
14
AUGUST 2009
What is pretty incredible — we are covering one whole side of an arena with one hang
of Micas. The Milos only come into play when
you start to come toward the curve.
I like for the floor and the next four speakers
can be a little bit louder and have a separate
EQ to compensate for any change in the tone
due to the distance.
FOH: I couldn’t really hear a seam.
Buford Jones: Yeah. I have gone looking
for the seam myself and it is almost undetectable.
FOH: That is the bump I was hearing.
FOH: What I did hear, which was unusual,
is as I went up the stairs, about every two
steps, there was an audible volume bump.
It got louder. Until I got past the bleachers on the floor. From that point up, it was
completely even.
Buford Jones: Yeah, probably.
Blake Suib: We take four reference mics
and position them in front of each of those
blocks. This way the mics are positioned in the
seats where the stacks are pointing. We get individual and specific information on what each
block is doing at the place where it is pointed,
not just at the mix position.
The one thing she has always told me is that
she wants it to sound like a dance club, and
she says this is the closest we have come
to that.
Blake Suib: I like to try and get an even
balance in every seat in the arena. When
working in the round with many different
zones that make up the PA it can be hard to
accomplish. Usually the upper sections do
not get the same presence from the PA that
you get on the floor so I try to adjust the levels of each hang so that for the most part
the level does not drop off as you get farther
away from the hangs.
The way we have set up the PA gives us a
lot of control. Each hang of 16 speakers is separated into four sections, each with its own
EQ and level control. This way, I can set the
bottom four speakers in the hang to the level
24 HP700 subwoofers are positioned on the
arena floor, circus-wagon style.
Now when you add the blocks together you
get coupling. So we not only have the individual
block mics but we have another mic at the front
of house position that we can bounce back and
forth with. So instead of using one reading from
one mic we have readings from all areas that we
are trying to cover with each hang.
One of the things I like most about Meyer
Sound is that they design and make all the tools
and components we use in the PA. This starts
with a program called Mapp online, which we
use to decide where to point the PA. We then
use the Simm, also built by Meyer, to analyze
and time align the PA in a very accurate way.
The Galileo is used to EQ and balance all the
Three hangs of three M’elodies each point
down from the center ring truss.
www.fohonline.com
sections of the PA so we can get as close to
seamless coverage as we can. And the speakers
are self-powered with amps also built by Meyer
Sound.
Louis-Philippe Maziade is the system tech
from Solotech, and we both work together to
tune the PA. We start by listening to one hang
at a time. As we add the next section of the PA
we can hear changes due to the coupling effect I spoke about before. We can then decide
if we want to place a filter on all 16 speakers in
the hang or just to one section. Time aligning a
PA like this is also very important and this also
helps give us seamless coverage.
The other thing we do differently is, we do
not do traditional front fills. We found that when
we put speakers on the ground, as soon as people stood up, they were blocked. What we do is
place three hangs of three M’elodies per hang in
the ring pointing down. What they do is cover
just the portion close to the main stage until
you get into the coverage of the Milos.
(The stage for this tour is set up to resemble
a three ring circus with an outer ring surrounding
that. There are large, couch-style, premium (i.e., really expensive) seats all the way around the inside
of that ring. —ed)
FOH: How do you handle the in the round
low end?
Blake Suib: There are 24 HP700 subwoofers positioned all over the arena floor. I always hate when I go down front next to the
subs and they are so loud because you need
them to carry all the way to the top sections.
One way to avoid this is by hanging the subs.
Because this show is so big, we have weight
issues, so we cannot hang the subs. Instead,
we place subs all around the floor and use the
Front fills for the VIP seating area sit atop the
circus-wagon style subs.
Simm and Galileo to time align. I find this to
be the hardest thing to get right. One trick we
have learned to get away from the bass buildup that can be a nightmare is to trick the subs
by steering them. We take the mic we use
to time align each block of subs and place it
where we want to steer the low end. This way
we do not get the buildup of low end where
we do not want it and we are able to steer it
where we like.
FOH: What type of monitor setup do you
use for Britney?
Blake Suib: Britney does not use in ears.
The one thing she has always told me is that
she wants it to sound like a dance club, and
she says this is the closest we have come to
that. We use 12 Meyer CQs. There are eight
flown around the center ring and two on each
of the two B stages. Because the CQs can also
be heard by the people in the front sections, I
decided to send a FOH mix minus the two live
vocal mics to the monitor console. Lawrence Mignogna, our monitor engineer,
then adds the two vocal mics at the level
she needs and the result is that she is hearing the FOH mix onstage and there is one
mix going to all speakers that can be heard
by the audience.
Some systems that I have worked with
have a very specific sound, and no matter what you did, you could not escape that
sound. In my opinion, what he has achieved
is a flat response PA.
When we first got to production rehearsals I decided to bypass every bit of processing
in the PA for my first run through. I wanted to
hear a totally flat PA, and I am telling you that
what people hear during the show is maybe
three or four very narrow filters at no more
than 3 or 4 dB of cut. Our cuts and boosts are
minor.
Keep in mind, this is a multi-zone PA.
We have 10 zones, which is a far cry from
your typical left-right with some side hangs
with maybe some subs and front fills. With
10 zones, all kinds of phasing problems and
bass build up can come into play, but we are
experiencing none of that. People who know
me will tell you that for 20 years I would not
even allow an analyzer in my rack. I thought
Suib uses a Galileo speaker
control system along with
Meyer Sound’s Mapp online
and Simm software to provide
seamless coverage.
it was cheating. If you could not do it with
your ears you did not belong in the business. That was my mindset. But I don’t think
we could achieve the same results without
using the MAPP Online and the Simm. I think
that having all the tools are a big help and
get us 80 percent there, but I still believe
that you should always trust your ears.
FOH: I agree that those are great tools,
but I am seeing too often guys trying to
mix and tune APA with their eyes rather
than with their ears.
Blake Suib: I know what you mean.
When I started out mixing live sound 28
years ago, the only tools we had were our
ears. There were no schools that taught
live audio. Today there are a lot of engineers that have learned mixing in a classroom and it can be very easy to trust a
machine instead of your ears. I like to use
all the tools I can to get my PA as close as I
can to a flat response system. I always do a
multi-track recording of every show, which
is very easy with my Digidesign Venue. I
then use the virtual sound check. mode
to play back the show instead of music
from another artist. I do this because all
music has different tones and peaks in all
frequency ranges. By using the live recordings, I can hear exactly what it will sound
like during the show. I could tune a PA in
the traditional way and it would be fine,
but by using the Meyer System I can take
the system as a whole to another level.
I was talking to John (Meyer) the other
day and he said something that really
stood out for me. He said he did not design a PA to decide what the artistic vision
is. He designed a PA to provide the tools to
allow the artist to decide for themselves.
FOH: How long does it take him to tune
the PA?
Blake Suib: I would say that with this
particular setup and the way we choose to
tune the PA it takes us less than an hour
from start to finish to adjust the levels,
time align and tune. Traditionally, PAs were
tuned just by our ears. We might look at an
analyzer attached to one mic, but for the
most part, we would pick a piece of music
that we knew well enough to know what it
should sound like in any environment and
we would play it thru the PA and adjust the
EQ until we got what we liked.
Now that works great, and there are a
lot of great sounding shows done this way,
but I think as audiences become more sophisticated and expect to hear exactly
what they heard on the record, we are conscious of making it as close to the record
sound and quality as possible.
That is where the Simm is just unbelievable. I can’t be in every seat in the
house at the same time. but the Simm is
the next best thing.
Production Profile
Dispatches from “Down Range”
By JonBullock
I
am one of the fortunate few sound guys
that is also a musician and earns a living
doing both. I am also one of even fewer
who get the honor to travel overseas entertaining our troops, which I have been doing
since 2001. These tours have taken me, multiple times, to Bosnia, Kosovo, Macedonia,
Germany, Belgium, Japan, Korea, Italy, Kuwait, Iraq, Afghanistan and a few of the other
“-stan” countries.
In countries like Germany or Japan, there
really isn’t a worry about the amount of gear
we carry or reliability, as we usually get backline and PA locally and can fairly easily get a
replacement if something breaks or doesn’t
work. However, in Iraq and Afghanistan,
weight, reliability and amount of gear is a major issue.
A recent tour was about four weeks long
and took me to Kuwait, Iraq, Italy and Germany, in that order. On this tour, I was the
talent with my five-piece band along with a
tour manager and soundman. We have been
to the Middle East before and know about the
severe heat, sand, and the routine with loading, weight and space issues as we usually
transport via helicopters once we are downrange. Sound like fun so far?
The Heat
FOH
Kuwait was cooling down this time of year
at a cozy 120-125 degrees during the day and
around 110 in the evening. I have also been
there when it was about 135 degrees, and,
yes, you do feel the difference! Oh, did I mention that some of our shows are outdoors?
The Sand
FOH
It’s like brown baby powder, it’s everywhere, and gets into everything! If there’s a
breeze, and there usually is, then you have
the combination that equates to a hairdryer
and baby powder in a cage match!
Weight and Space
FOH
Since we tend to do shows at FOB’s (Forward Operating Bases), we normally transport in helicopters with weight limitations of
around 5,000 lbs. that must be able to fit into
two Blackhawk helicopters and also includes
our personal luggage, the flight crew, and
us. Needless to say, I have become a master
at Tetris! And, in addition, we tend to do ‘hot
loads’ (and no that’s not toilet humor). A hot
load is when we, along with the flight crew,
load all the gear while the helo’s are still running, blades still spinning, and heat of the engines still blowing even more hot air at you,
all while there’s a possibility of being shot at
by snipers, mortars, or rocket-propelled grenades. So time is of the essence. Think of the
phrase “sitting duck.” Still with me?
I have had issues with the gear crapping
out in the past be it from the heat, sand, or
just the rigors of touring “military style,” so I
was desperate to find a way to have some of
the basics for a decent sound system and still
have it within the parameters, but with the
durability that a tour such as this calls for.
The Gear
for a 16-channel version, again, to save space
and weight.
Protected inside an ATA flight case with
two casters and a retractable handle that
made it even easier to transport, the Yamaha
LS9 weighed in just under the free baggage
weight limit for Lufthansa, with the flight
case weighing more than the console itself!
Another bonus on the size was that it was
small enough to ride down the carousels and
not end up in the oversize luggage area and
cause us to have to wait longer at baggage
claim upon arrival.
Just because I chose the 16-channel version doesn’t mean I was limited to 16 channels. Like the Yamaha PM5D and M7CL digital
consoles, the LS9 has the beautiful feature of
adding inputs, outputs, or inserts, via a mini
YGDAI slot card. I opted for the four XLR input
card, enough for my band and an iPod for preand post-show music. (That, too, could have
been eliminated, which I will get to later.)
Our soundman, who had never been on
a digital board, picked it up really quickly and
was happy to have all the bells and whistles
he needed for front of house and monitor
duty like graphic EQs, parametric EQs, gates,
comps, reverbs, etc. The band was happy to
each have a mix to their liking, and our fe-
male lead singer was delighted to have her
own reverb (that she can’t live without) in
her monitor. I had an in-ear monitor mix and
backup wedge mix. It was so nice to be able
to cut our sound checks down by having
the recalled scenes and mixes, and that also
saved us a huge headache on a show that we
didn’t make on time in order to have a sound
check.
Showtime
AUGUST 2009
FOH
Once we landed in Kuwait, we became
“Property of the U.S. Military.” Although it’s a
separate country, Kuwait is the jumping off
point into Iraq, and it is like living inside your
kitchen oven! The actual air temperature this
time was only 120-122 degrees F. Since most
of the shows are outdoors, setup and sound
check is in the middle of the afternoon. I had
band members needing IVs to replenish their
fluids, the glue in speaker cabinets gave out,
and cymbals so hot you could probably cook
breakfast on them. The Yamaha LS9, however,
never failed in physical appearance, structure or
performance.
Now I don’t know how things work in the
military stateside, but “downrange,” everything
happens really fast, or is a “hurry up and wait”
situation. So, transportation is either “hurry up”
FOH
I had the privilege of getting my hands on
a Yamaha LS9 digital console for this tour, and
though I was very worried whether it could
handle the rigors of this particular tour knowing that if it failed we would be in a world of
hurt, I was very excited about the amount of
gear the LS9 would replace and the amount
of space and weight it would save. I opted
16
Jon Bullock, right, with Frank Urtado, seated, in Fallujah, Iraq.
and slam the gear on a steel pallet just so it can
sit in the blazing sun and bake on the flight line
for hours before our cargo plane arrives, or it’s
slam the gear on the back of a five-ton-or-whathave-you available vehicle in order to get it to
the “LZ” and bounce it down the spinal-compressing, asthma-inducing dirt roads, and then
slam it into a Blackhawk or Chinook as tightly as
possible. Again, the Yamaha console took every
bit of the abuse and never even blinked a fader.
After setting up one show in Baghdad and
having one of our best sound checks, thanks in
part due to the temperature only registering
112 degrees, we went to eat and relax when
one of my guitarists came in and said that I
might want to come outside and take a look, as
it was getting pretty windy. Well, by the time we
went outside, a sandstorm had blown in, so we
started scrambling to get our escort and shuttle
bus to take us back to the stage as quickly as
possible.
By the time we arrived at the stage, everything was covered in sand and things had blown
over or were scattered all over the stage. As we
scrambled to turn speakers face down and drop
the remaining mic stands and cymbals, an escort detail left to find anything that could cover
the gear. The sand was blowing so hard that I,
to this day, have little pockmarks in my glasses.
The Yamaha LS9? It slept through the whole
thing and was not fazed (pun intended).
Through our two and a half weeks in Iraq
which took us to Baghdad, Fallujah, and other
places, even though the LS9 took a lot of abovenormal abuse including fluctuating power, it
never put the tour in jeopardy. After Kuwait
and Iraq, we finished our tour in Italy and Germany, still using the same Yamaha LS9. And
even though it looked like it had been buried
with weapons of mass destruction, it was actually a true testament to Yamaha’s performance
record.
The only complaint I had was that the
display panel was almost completely unreadable in the extreme sunlight without really
cupping it or building a makeshift sun visor
for it. I would guess, though, that this problem would happen to any product with an
LCD screen. I’ve seen keyboard players have
this problem and actually the screen turns
black until it cools down. Hopefully someone
can design a new type of display screen so
this will no longer be an issue.
I mentioned at the beginning about using
my iPod for pre-show music. Well, the coolest
feature of the LS9 is the USB port on the side
of the display panel. It can be used as a stereo
playback and a 2-channel recorder right into
your basic USB card, and provides multiple
choices of popular formats. We used it exclusively to record our shows and used the extra
inputs for the iPod just to keep it simple. The
recordings were great for the band’s Web site
and MySpace page. I was also able to burn
CDs from the USB card for friends and family.
The Yamaha LS9 is a great little all-in-one
console, and I highly recommend it to anyone
waging a sound war under no false pretenses,
excuses, or needing a stimulus plan to pay for
it.
Jon “Jonny B” Bullock is head audio engineer at
the Orpheum Theatre in Los Angeles, works at
the Cerritos Performing Arts Center, and freelances for AudioWest and AVHQ, among others.
He can be reached at [email protected].
You can check out pictures from the tour at:
Myspace/otwbandiraq or www.otwband.com.
Bullock’s Yamaha LS9
www.fohonline.com
Installations
University Heights Baptist Church
By DavidJohnFarinella
W
hen Bret Lambert, owner of Procure
Distributing in Owasso, Okla., walked
into the University Heights Baptist
Church in Stillwater, Okla. earlier this year, he
was a bit surprised. It wasn’t the complete gutting and rebuilding of the church’s sanctuary,
not the expanse of musical styling that the
members perform or the fact that so much
happens in this church that they had to update
their PA. No, what surprised him was what was
already installed.
Slap from the Sides
FOH
“The original sound system was put in, I’m
guessing, around the mid-1980s,” he starts.
“It provided them just atrocious coverage,
because I bet those were 110 degree horns
and they were just pounding the side walls
and sending quite a bit of slap back from the
sides.”
And while he shook his head with that
ranges from a praise band to a choir to a soloist, and the system had to accommodate all
with clarity and power.
A Challenging Layout
FOH
The first challenge he recognized was the
church’s layout. “The sanctuary is 40 feet wide
by 76 feet in length from the pulpit area to the
back wall,” Lambert reports. “The back 30 feet
of the room has a balcony area, so we needed
to ensure proper coverage both in the upper
and lower seating areas.”
Of course, that meant getting those old
components out and finding a line array that
could keep the sound on the audience and off
the walls. Ultimately, he ended up selecting
the D.A.S. Audio Variant line array for the room.
The center cluster incorporates five Variant
25A boxes with a single Variant 18A subwoofer
at the top of the loudspeaker stack. To cover
the audience sitting under the balcony, Lam-
“We had to get the intelligibility up, make
it aesthetically pleasing, plus get the
coverage everywhere that they needed.”
—Bret Lambert
knowledge, it made his assignment that much
clearer. “We had to get the intelligibility up,
make it aesthetically pleasing, plus get the
coverage everywhere that they needed,” he
says.
While Lambert was charged with designing and installing the audio system, Native
Audio Video in nearby Bixby, Okla. handled all
of the video projection needed for the newly
outfitted church.
Church officials educated Lambert on the
types of services typically held at UHBC, which
amounted to everything and anything from
traditional worship services to weddings to
local events. During worship services, music
18
AUGUST 2009
bert installed a pair of D.A.S. Audio’s Artec 26.
Directing the Sound
FOH
The Variant boxes accomplished a handful
of additional things, including eliminating the
need to acoustically treat the room. “The walls
in the room are just stained wood and it has a
pretty good absorption coefficiency,” he says.
“With the line arrays we’re able to keep the
sound off the sidewalls and headed straight
down into the congregation.”
The only treatment in the room was used
to cover an air conditioning duct that is directly above the speaker cluster. “The contractor put up acoustical absorption material to
hide the duct,” he explains. “We didn’t need to
add material anywhere else, because with the
stage back wall shaped the way it is and with
the balcony riser seating, there just isn’t much
potential for front to back slap.”
In addition to being concerned about coverage, Lambert has to ensure that the system
could be driven by church staff as well as visiting engineers. To that end, he selected the
new Roland M-400 digital mixing console for
its ease of use. The M-400 enables church staff
to set scenes for different events, provides all
of the necessary signal processing and enables
them to password protect the console if a visiting tech comes through. “They have been very
happy with all of the features on the board and
it’s ease of use, even for novice sound personnel,” he says. “It’s worked out extremely well.”
CAT5s vs. Snakes
FOH
Adding a digital board also eased the
installation process, since there was an issue
with getting the microphone snake from the
stage to the FOH position. “It was much easier
to sneak a couple of CAT5s through the existing conduit and in between fir strips on the
walls,” he says.
The Variants are self-powered, so Lambert did not have to think about installing
any amps. And, it turns out, there is plenty of
power to fill the room no matter what kind
of event is taking place. “The sound pressure level is very capable of getting over the
crowd,” he says. “They don’t get extremely
rambunctious, but it will easily do at FOH location 103 dB.”
All in all, the addition of the new system
has delivered on the church’s demands. “It’s
a very natural and smooth system,” Lambert
states. “There’s no variance in volume from
side to side and front to back. Everything is
within +/- 2 dB regardless of where you’re at,
and they’re just extremely happy with what
they have now.”
www.fohonline.com
Bret Lambert
D.A.S. Audio Variant gear keeps the
sound off the side walls.
Road Test
KS Audio CPA12 Powered Loudspeakers
By BillEvans
K
S makes some really great stuff. Unfortunately for us here in the U.S., most
of it is installed in venues like opera
houses in Germany. But after the InfoComm
show I took the 90 minute drive across Florida to their U.S. headquarters in Clearwater
near Tampa and spent the better part of a
day in a parking lot listening to different
combinations of their speakers. By the time I
left, I was itching to get my hands on a set of
the CPA12s for a gig.
The Gear
rt
The first thing you need to do here is
throw all preconceptions about size out
the window. The CPA12s are small enough
to mount on tri-pod speaker stands and, in
fact, bear more than a passing resemblance
to certain speakers found in breakout rooms
at 90 percent of the corporate events that
we cover. If there was ever a speaker that
could be described as small but mighty, this
is it.
Next, you need to throw away everything
you think you know about coverage from a
speaker like this. Unique is not a word I use
often, but it is the only way to describe the
coverage of the little giants. A 90° horizontal
coverage from a box like this is not unheard
of, but the CPA12 does 120° - in the nearfield only. While with most loudspeakers
we would expect a gradual falling off of the
horizontal field as we move further from the
source, the CPA12 drops abruptly at about
15 feet out from 120° to 60° and maintains
that 60° for another 50 feet or so. On top
of that - literally - the vertical coverage is
canted down 5°, so virtually no energy is lost
above the cabinet. In fact, KS advises users
to mount the CPA12 as high as their stand
will safely go.
I was intrigued by the published coverage pattern because I do a lot of crappy little
gigs in crummy venues where I either need
to keep the sound off the side walls to maintain intelligibility or I need to tailor the coverage for loud music on a down front dance
floor area and keep other areas to the sides
relatively music-free for those who are more
into conversation than the big beat.
The CPA12 is made of Baltic birch with
a painted tough coat and integral handles.
It can be pole mounted or flown. It is powered and the internal amp is adjustable via
a rotary switch--three “clicks” up and three
down from the unity position. Power is supplied by a Neutrik PowerCon and input is via
a standard XLR. There is also a pass-through
for using more than one cabinet with the
same input signal. There is a mini-toggle
switch for engaging a highpass filter. One of
my few complaints about the system is that
the switch feels backwards to me. Maybe I
am hopelessly American, but I expect that
a horizontally mounted toggle will be off
when it is to the left and on to the right. The
switch on the CPA 12 is the reverse of that.
However, the graphic and legend for the
highpass are on the right-hand side of the
switch throw so I guess it makes sense. Just
took some getting used to.
The Gigs
rt
KS originally shipped the CPA12s with
their smallest-powered subs, which makes
sense. Small top boxes, small subs. But these
could no way keep up with the CPA12s —
20
AUGUST 2009
not close. We were running the tops all the
way choked back and the subs wide open
with canned music, and there was still not
enough low end. I mentioned it to the folks
at KS, and they agreed that for a music gig,
you would need the bigger sub, which they
shipped out. This road test is on the CPA12s,
not the subs, but I have to note that the subs
were in an unusual configuration — four
10s, two mounted to a baffle and firing out
and two firing straight up. Again, I am not
going to question it, because it worked. In
fact, with the CPA12s at unity, we had to dial
back the subs two clicks. One of the subs
should keep up with two CPA2s easily.
I started out in a local warehouse with
just two items on the agenda — how loud
would they get and was the coverage pattern real. Nothing fancy. My MacBook Pro
plugged in to a entry-level Behringer mixer,
and from there straight to the subs, which
provide crossover for the tops. Remember,
at this point, I was still using the small subs.
I got them cooking at about 100 dB and did
an “ear check” on the coverage. And not just
me, I had three other “real” sound guys listen
to confirm what I thought I was hearing.
Sure enough, at about 15 feet out at the
edge of the 120° mark, the level dropped
dramatically. I was not using a meter, but it
had to be in the 8-10 dB range - enough
to be very noticeable. Then, standing at the
same distance from the speaker we all took
three steps toward the center and the level
came back - again, very noticeably. Bottom
line - two coverage patterns out of one
box. So we figured it was time to crank em
up. With the mixer at unity and the speakers cranked wide open, we were hitting
110-112 at about 40 feet from the source.
These things will move enough air to do a
much larger gig than you would think from
looking at them.
We kept them set up in the warehouse
and used them to rehearse a Chicago/BS&T
tribute, and I never got a single complaint
from anyone about not being able to hear or
it being too loud. One last thing: we took a
standard SM58 and barked into it, and as we
moved closer to the speaker, we expected it
to feedback. It didn’t. We were actually waving the mic in front of the speaker at a distance of less than two feet and not a single
squeal. We had to get in closer than the 12inch mark to get it to feedback. Impressive.
Finally, I took the system out for a pair of
club gigs—first with a five-piece blues band
and the with a six-piece Heart tribute. I was
driving my Midas Venice 320 with minimal
processing. I did not even bring a 1/3 octave
graphic with me. Both bands share a bass
player/MD and he was on my side, and so
stage volume was kept way down, which
always makes it easier. But still, these are
tough rooms. With the blues band, the front
of the stage is less than 10 feet from the bar,
which takes up most of the room. There is
a side area of booths for the joint’s lunch
business (the food was actually pretty good.
Tailspin, Vegas, Pecos and Post and the east
side of town) but no one sits there at night
when the bands play. It also has very high
ceilings with a kind of half wall hanging
down about 20 feet out from the stage. It
is a bass buildup and reflection nightmare.
In fact, the place has a reputation for being
very hard to sound good in, and most bands
try to make up for it
with sheer volume.
The coverage stuff
saved us. With the energy canted down,
we put the CPA12s up
as high as we safely
could - about 12 feet
- and all the energy
was focused on the
people and nothing
bouncing
around
in that weird ceiling
area. The 9120°/60°
thing kept the sound
out of the booth area
for the most part and
the folks who wanted
to play pool could do
so without screaming
over the band. All in
all it, was a great and
very easy gig. We did
a quick line check,
the band played two
songs while I dialed it
in, and we were done.
And I got comments
from the management, the band and
the patrons that this
was the best they had
ever heard that room
sound.
(I shot video at
the shop and on the
gig. Go to my blog on
ProAudioSpace if you
want to check it out.)
The second space
is just as tough but
different. Larger stage,
high ceiling but treated with a cushioned
material. But the entire back of the stage is
lined with big squares
of MDF, the walls are
stone and the floor is
concrete. Again, quick
sound check and then
I actually left it with
a “baby sitter” and
went to cover another
show. Came back a
few hours later and it
was dialed in and sounded great. Powerful
without being too loud and just enough reflection to be able to leave the vocal reverb
at home.
Bottom Line
rt
The CPA12s rock, but while you are
throwing out your idea of what a speaker on
a stick can do, you also need to throw out
any preconceptions about what they should
cost. These are not your daddy’s speakers
on sticks, and the price tag proves it. Sitting
down? The CPA12s list for $6,200. Each. Add
the subs and you are looking at 13 large a
side. A huge chunk of dough. But I will tell
you this, I like these things enough that I
would sell every other speaker I own to buy
these, but selling every speaker I own would
not even buy me one side. These will likely
stay on the wish list forever, but oh, how I
wish…
www.fohonline.com
KS Audio CPA12 Powered
Loudspeakers
What It Is: Powered speaker on a stick
on serious steroids
Who It’s For: Anyone with deep pockets and the need to cover lots of people with minimal gear and the ability to
really control coverage.
Pros: Loud, light-ish weight, dead easy
to use. As close to plug and play as this
kind of gear gets
Cons: Unintuitive switch labeling and
a very steep price tag.
How Much: MSRP: $6,200 per cabinet.
Road Test
X2 XDR955 Digital Wireless Handheld Vocal Mic
By BillEvans
I
have been a fan of the X2 stuff ever since
they were known as X Wire back in the
1990s. The digital transmission — which
meant no companding — offered a sound
at least as good as a premium cable. It was
only a guitar system at that point, and X Wire
got bought and the technology just disappeared. So fast forward about five years, and
Guy Coker (the brains behind X Wire) was
out from under his non-compete and started
X2. Making stuff that was every bit as good,
maybe better than the X Wire stuff, and a lot
less expensive.
A few NAMM shows ago, Guy was showing a prototype of a vocal mic using the
same system, and everyone from yours truly
to Stevie Wonder was blown away at how
anced XLR out and an unbalanced 1/4” out.
(Just an interesting note, the 1/4” is unbalanced but TRS. The tip is “voiced” for what
you would typically expect from a decent
cable rolling off gently at 8 kHz, while the
ring is wired for full bandwidth. This is really
for use with the guitar systems and makes allowances for guitarists who are not used to
the kind of high end the X2 can transmit. The
XLR is full bandwidth.)
The front panel is similarly simple. A power button, LED meters for battery life, and audio level and an RF signal present red LED.
The only actual controls are a pair of buttons
for channel up and channel down. That’s it.
Done. The included rack ears include a pair
of BNC couplers and cables for moving the
put one of them in backwards, which made
for a bit of a scramble when hit time came,
but it actually helped with the review.
How, you ask? It made me use a different
mic on the lead singer for the first set. And it
was a good mic that I know well, but the difference in performance was huge.
Plug it in and bring up the channel gain,
and you may think it is broken until you actually speak into it, because it has none of
the hiss and noise that is so common in affordable wireless systems. No companding
means actual dynamic range and 24 bit conversion means pristine sound quality.
I used the system on the same two gigs
as with the KS speakers. Both had female
singers up front and both of them had mic
and not something I would want to have
to do on a dark stage. The only thing that is
keeping the XDR955 from being taken really
seriously for mid-sized and larger companies is the fact that presently the system is
capable of just five channels. which you can
blow through pretty quickly. But rumor has it
that they are working on expanding that as I
type this. Triple or quadruple that and this is
going to be hard to beat.
X2 XDR955 Wireless Mic System
What It Is: DIGITAL wireless mic
Who It’s For: Providers and bands who want great sound, great coverage and don’t need a lot of channels
Pros: Sounds great, easy to use, no companding, no noise
Cons: Needs more than five available channels. Changing batteries is a bitch.
How Much: $859.99 MSRP, $499.99 street.
The Gear
rt
The receiver — the XDR4 — is the same
one that ships with the top-of-the-line instrument system. While the trend out there
often seems toward “feature creep,” with so
many parameters that it is easier to manage
with a laptop than from the front panel, the
XDR4 is the picture of simplicity.
The back panel sports a pair of BNC antenna connectors, a DC power input, a bal-
antennae from the back of the unit to the
front for rack use.
The handheld transmitter has the usual
LCD readout. but is similarly simple — with
a power switch and a channel button. When
switched on, it briefly reads “On,” then for
three seconds. reads XDH4 (the model of the
mic) and then changes to the channel number the transmitter is set for. There is an AF
input indicator and a battery power meter.
That’s it.
The Gig
rt
Here is how simple it is to use. I took it
out to a gig and never even read the manual.
In fact, I handed it to a guitar player without
a manual and told him to put batteries in
it and plug it into channel 14 on the snake.
We did a sound check and all was well. As
is the case with every wireless I have ever
used, the batteries included were of, well,
middling quality. I suggested that the band
might want to buy some good batteries and
replace them for the actual gig. Of course, he
technique that was less than stellar, but in
different ways. The first singer in the blues
band moved around a lot in relation to the
position of the mic. This was the “backward
battery” gig, and we ended up switching to
an Audix OM2 that I had set up for a bass
player who sang some backup. The super flat
and tight OM2 was great for him because I
was not running gates and was not familiar
with the band’s material so was not about to
try to mute and unmute without cues. But
switching it to the lead singer meant riding
a lot of fader as she moved around.
Though we did not use another mic with
the lead singer of the Heart tribute, she has
the pipes of a young Ann Wilson and does
not back off the mic when she really steps
on it.
Bottom line is that the XDH4 is very forgiving of less-than-perfect mic technique.
Once we had it dialed in on the mixer, I rarely
touched it again for the entire gig.
So what didn’t I like? Not much. Getting
the batteries in and out was a bit of a chore
www.fohonline.com
great it sounded. And he set up two mics (at
that point he was using an Audix—I think an
OM5) so he had a wired OM5 on a stand right
next to his wireless version and you could
got back and forth between the two. The difference was nothing less than stunning.
Shortly after that demo, X2 got bought
again, but this time by one of the most forward looking companies in the business,
Line 6. They started with several models
of beltpack instrument systems — which
rocked — and finally have released the X2
version of a vocal mic. It was worth the wait.
2009 AUGUST
21
Theory and Practice
By MarkAmundson
How Circuit Breakers Trip
B
eing in the live sound business, and
especially towards the ankle-biting
side, I get a lot questions of how
much audio power or amperes of loading
a typical circuit can handle before tripping
the circuit breaker. The true amount can depend on the kind of music being performed
and how much gear is connected onto any
one circuit. This column is to help understand the situation from the breaker point
of view, as to how much power we can get
away with before the breaker starts tripping out.
Breaker Types
There are two main types of circuit breakers commonly used in AC power distribution:
magnetic breakers and thermal breakers.
Magnetic breakers are popular in industrial
control situations where large turn-on current
surges are typical, and thermal breakers may
not hold during the short-term heavy current
surge. Magnetic breakers are also found in better quality power conditioning units for audio/
video racks for surge purposes and can be
fairly compact in mounting onto rack chassis
assemblies.
Thermal breakers are the usual suspects
found in residential and commercial breaker
panels for common power distribution. They
are the black plastic devices with a beefy reset
switch and sometimes a red paint trip indication, depending on if they encountered a short
circuit or an overload condition. One could define a short circuit as a sudden load of more
than 10 times the rated current. Most common
brands of thermal breakers are Square D, ITT,
General Electric and Cutler-Hammer.
Overloading
When a circuit breaker trips in most live
sound applications, it tends to be from a
slightly overloaded circuit. I would define
“slightly overloaded” in terms of a 20 ampererated circuit loaded to 25 to 20 amperes
continuously. Easily identified with constant
stage lighting loads, this kind of slightly overloaded abuse would normally result in a circuit breaker trip after a half-minute to several
minutes in duration. For the tolerance band
for tripping a Square D 20 Ampere Q0 circuit,
see chart, above.
These kinds of slow trips are fair warning
that the operator should shed about half the
load or back off severely on the intensity of
the musical performance volume. What I find
fascinating is the
transition between
a slight overload
and a moderate
overload. As the
chart above illustrates, you could
load up a 20-ampere breaker with
60-ampere spikes,
and as long as those
spikes are less than
a second in length,
you can get away with
them without a breaker trip.
Audio Loading
What these moderate overload conditions
are telling the average live sound operator is that
a lot of branch circuit abuse can be tolerated by
thermal breakers way beyond the trip ratings, as
long as the average currents are below the rating. This works well to a small extent with audio
power amplifiers, as the audio program power
delivery gets smoothed out by the amplifier’s
power supply circuits. Thus sudden crescendos
of music performance are covered by both the
breakers and the supply capacitors within the
audio power amplifier.
There are also prudent things you can do if
you are working 20-ampere breakers and associated wiring with spikey audio loading. If possible,
use a well-maintained Portable Power Distribution Unit (PPDU) so that those spikes are melded
into 6 gauge or heavier conductors designed
to handle those higher currents continuously.
Another thing to try is to use short length 10- or
12-gauge service cords between power amplifi-
ers and the receptacles with freshly cleaned interconnects that make very low ohmic contacts
to avoid arcing and carbonizing problems.
One other trick that sharp-eyed viewers of
my column may have noted on my “volts-wagon”
PPDU is that I took advantage of my breaker panel size and spaced out my branch circuit breakers so there are some air gaps between breakers.
Since thermal breakers heat up before tripping,
having air gaps between breakers helps raise
the trip threshold a couple of amperes. That can
mean a big difference in outcomes if the circuits
are loaded just at, or slightly above, rated trip
thresholds. A lot of wise sound persons already
know that a warm breaker will trip quicker than a
cold breaker, especially if you cannot readily shed
some of the load on the branch circuit.
I cannot give you more (branch) circuits to
work with, but I can at least make you understand how the breaker looks at surviving your
loading situation.
Mark Amundson can be reached at marka@
fohonline.com
2009 Regional Hometown Heroes
Awards Ballot
W
ell y’all have spoken—in fact one or two of you spoke a couple of hundred
times…and the nominees for the 2009 Hometown Hero awards are in. The list
of regional contenders to the FOH Hometown Heroes awards appear in the ballot below, and voting starts now on line at www.fohonline.com/hometown. Remember
the winners in each region will become finalists for the national award to be presented at
the Parnelli Awards ceremony in November. Voting is open now through late August and
regional winners will be announced in the September 2009 issue of FOH.
NORTHEAST
Ace Audio, Middletown, CT
Blvd. Pro, Oradell, NJ
Concert Quality Sound, Egg Harbor City, NJ
Events Staging, Orwigsburg, PA
JR Audio, Buffalo, NY
SOUTHEAST
Atlanta Sound and Lighting, Atlanta, GA
All Mobile Productions,
St. Helena Island, SC
Beach Sound, Miami, FL
Welsh Sound, Kearnysville, WV
MIDWEST
3rd Ear, Cleveland, OH
Audio Visual One, Jackson, MI
MB Music and Sound, Danville, IL
Signature Audio, Wixom, MI
Thunder Audio, Taylor, MI
22
AUGUST 2009
www.fohonline.com
SOUTHWEST
HAS, Las Vegas, NV
Initital Production Group, Arvada, CO
On Stage Systems, Dallas TX
Precise Corporate Staging, Tempe, AZ
Richerscale Productions, Denver, CO
NORTHWEST
Carlson, Seattle, WA
George Relles Sound, Eugene, OR
Morgan Sound, Lynnwood, WA
Mountain Sound, Snohomish, WA
Velvet Thunder Sound, Eugene, OR
CANADA
EK Sound, Calgary, AB
RP Dynamics, Toronto, ON
Soundbox Productions, Hamilton, ON
Solotech, Montreal, Quebec
Tourtec East, Dartmouth, Nova Scotia
STAN
MILLER
AUDIO INNOVATOR AWARD
JAKE
BERRY
November 20, 2009 – 7pm
The Peabody Hotel
Orlando, Florida
Parnelli LIFETIME ACHIEVeMENT
New
this year
Go To:
parnelliawards.com/nominate
The Parnelli Awards are made possible from the generous contributions of our Sponsors.
GOLD SPONSORS
SILVER SPONSORS
production
SPONSORS
SGASi
Productions
Services
AERIAL
RIGGING
News
K-Array Speakers Make U.S. Debut at Milwaukee’s Summerfest
continued from cover
“It was really easy to put up. I was shocked,”said
Brian “BK” Koerner, audio operations manager for
Milwaukee’s Clearwing Productions, who worked
alongside K-array product managers Francesco
Maffei (Italy), Vaino Gennaro (Sennheiser Canada),
and Sennheiser rep Eric Reese to rig the system at
JoJo’s Lounge. “We got it dialed in and it sounded
really good. It was very crisp and very clear. Thanks
to the people from Sennheiser for giving us the
opportunity to debut it in the States. It was well
received by a lot of people.”
Dan Henszey, audio engineer for the locallybased band, The Bystanders, who played at JoJo’s
Lounge, said that “the guys at Clearwing were
raving about the system. And after hearing it and
working with it, I know why. JoJo’s Lounge is a
very difficult acoustical environment. Basically,
the space is a steel arched cover about 175 feet
long and maybe 70 or 80 feet wide and about 30
feet high at the apex of the arch. And as the room
has a black top floor, there’s really nowhere for the
sound to go except around and around. But the
K-array system filled the room without all of the
nasty cabinet ringing and mud from the stage, or
screeching high-end, thus giving me a chance to
actually mix instead of compensating for the horrible acoustics. And the sound only got better as
the room filled up.”
As Henszey noted, the K-array packs plenty of
punch: “There were actually complaints from the
Classic Rock stage about the amount of bass coming from our stage. I was running at about 85 dB,‘A’
weighted, at 150 feet and had more than enough
headroom to go another 15 dB if I needed it.”
The U.S. Cellular Connection Stage also hosted the U.S. Cellular Emerging Artists Series, where
audience members could text votes for their favorite up-and-coming band playing on the stage
between 3 p.m. and 8 p.m. each day. Sennheiser
gave away 22 e 935 wired vocal microphones in
the daily prize packs presented to the winning performers. In addition, Sennheiser supplied Clearwing with a pair each of e 901 and e 902 models,
eight e 904s, four e 905s, six e 914s, 10 e 935s and
four e 609s for the U.S. Cellular Connection Stage,
where such headline artists as the Meat Puppets,
Matthew Sweet, Airborne Toxic Event, Staind and
Asher Roth also used them.
Numerous Sennheiser artists were among
the 700 performers scheduled for Summerfest
this year, including Jacks Mannequin,
Red Jumpsuit Apparatus, Blake Shelton, Robert Randolph and the Family
Band, The Lost Trailers, Paramore, Lady
Antebellum and Skillet.
Milwaukee’s Summerfest has
been held annually at the 75-acre lakefront Henry Maier Festival Park since
1968. Traditionally held from late June
through early July, Summerfest attracts
up to one million people each year.
The new K-array loudspeaker
system made its U.S. debut at
JoJo’s Lounge at Milwaukee’s
Summerfest.
Frampton Goes Live Once
Again, with Heil Gear
Peter Frampton, left,
with Bob Heil
NASHVILLE — Some 35 years ago, Bob
Heil built one of his now-famous talk boxes
and gave it to Peter Frampton as a Christmas
present. Frampton had left Humble Pie and
was embarking on a solo career.
As history would show, that Talkbox played
a key role. Frampton Comes Alive!, released
in 1976, went on to become the best-selling
album that year, and still ranks as one of the
best-selling live albums.
Since then, both Heil and Frampton went
their separate ways. Heil built Heil Sound, becoming a major designer and producer of microphones, while Frampton toured and sold
millions of records.
Frampton and Heil’s paths crossed again
recently, with a discussion about microphones.
Frampton, who had been using a few Heil microphones in his studio for recording, was curious about the latest developments at Heil
Sound in the live sound world.
After they spoke on the phone, Heil Sound
shipped 30 mics of various models to Soundcheck in Nashville, where Frampton was preparing for his summer tour.
Vinnie Kowalski, FOH mixer, was testing
Heil’s new PR 48 on kick as well as PR28s, 30s
and PR 20s on snare, and in a discussion in
late July with Heil on Youtube.com, Frampton
credits Heil’s PR40 for his guitar rig. (Search
terms: Heil and Frampton).
www.fohonline.com
2009 AUGUST
25
Sound Sanctuary
By JamieRio
Knowing Your System
M
any of you walk into your church
just before the service begins; you
turn on the system and wait for the
congregation to show up. You do your mixing job, turn off the system and go home.
This approach to mixing is not a problem
unless some piece of gear or cable fails, then
you’re stuck, and so is the congregation. In
reality, I know many of you have a much
deeper understanding of your worship
house system and how it operates. Ideally,
you should be able to unplug all your components (from microphones to speakers),
plug everything back in and make it work
beautifully. If you are somewhere between
the person who just turns on the system and
someone who can dismantle it and then rebuild it, we have something to talk about.
Identify the Signal Flow
SS
Signal flow is a term that describes the
path that the audio signal takes on its journey from the microphones to the front of
house speakers or monitors.
If you think of the microphone as “hearing” a voice or instrument, sending what it
hears to the mixing console and then to the
FOH speakers, it may be easier to visualize
the path of the sound.
The sole purpose of a mic is to capture
sound waves and turn those waves into
electric impulses that will travel through
your system and ultimately be turned back
into sound waves.
A Typical System Setup
SS
So, let’s run through a typical system
setup as we follow the signal flow.
Assuming that you have a microphone
secured to a microphone stand, you will
first plug the female end of an XLR cable
(the one with the three holes) into the
microphone. Don’t try to force anything.
Company
Page
If necessary, turn the connector end until
it fits into the mic’s male receptacle. You’ll
know it’s the right fit when the two connect
and you hear a small click. Plug the other
end directly into your mixer or into the
stage snake box. On our way to the mixer
we go.
The location of your mixing console
determines how this next stage of signal
attempt to discuss all the different mixing
boards and features (I’ll save that for another time), I want to look at the two most
common output areas and any mixing console.
From Mixer to Speakers
SS
The signal will leave the main outputs,
ultimately arriving at the FOH speakers. The
Once you understand the path of the
audio signal, all those cables and wires will
become much less intimidating. You will also
find that it is much easier to troubleshoot
you sound system if you understand how the
audio signal moves through it.
flow is set up. If you are mixing close to
the platform or stage, usually at the side,
cables will go directly into the mixing console input channels. Should you be mixing
a distance from the platform, a snake will
be necessary.
Strategically place the snake stage box
out of sight of the congregation. Plug the
male end of the XLR into one of the snake
inputs. Plug the corresponding male end
of the snake into the mixing console channels.
Once the signal enters the mixer, it can
flow only where you send it. It’s up to you
whether it flows through an auxiliary send
to a monitor mix, whether it’s assigned to a
bus group for group level control or whether exits the main outputs into a piece of
outboard gear.
As a house of worship technician, you
are truly the master of any audio signal that
enters your mixing console. Rather than
audio signal can simultaneously exit the auxiliary outputs on its way to the monitors. It is
likely that as the signal leaves the main outs
of your mixer on the way to the FOH speakers
it will pass through an equalizer of some sort
(probably a graphic EQ). From the equalizer it
will then travel to the power amps or powered
speaker boxes.
Check your board and see where the output cables are going. If they are plugged into
an equalizer, they will have to leave that equalizer on their way to the FOH speakers. The aux
send cables may also travel through equalizers
on the way to the monitors.
From the equalizer, they will then have to
be plugged into the power amps or directly
into powered monitors. If you are using a
snake in your house, both the FOH and monitor signals from the mixing board will travel
back to the snake stage box.
The signal travels in the opposite direction
in the snake through cables called “returns.”
Phone
Web
Company
Page
That term makes perfect sense, because the
signal is being returned to the stage. From
there, the signal will travel to its designated
destination.
Snakes and Speaker Wire
SS
If the main or monitor signals enter power
amps, they will leave the power amps via speaker wire. Should your house be using powered
FOH speakers or powered monitors, the signal
will travel via a cable directly from the snake
stage box to the monitors or FOH speakers.
If possible, follow all the wires from the
microphones to the FOH speakers and monitors. I know that sometimes snake cable and
speaker wires travel through the worship
house walls or attic or floor, but the main idea
here is to identify the signal flow in your particular house.
Once you understand the path of the
audio signal, all those cables and wires will
become much less intimidating. You will also
find that it is much easier to troubleshoot you
sound system if you understand how the audio signal moves through it.
Not only will understanding the signal
flow and how the gear is connected help you
during your weekly mixing duties, but this
knowledge will be invaluable should your
house of worship attempt any type of outreach events. Being able tear down a sound
system, move it to another location, set it back
up and make it sound good is what live sound
reinforcement is all about. It is also what outreaches are all about. So, don’t limit yourself to
being that person who just comes to church
and mixes the service, then goes home, when
with just a little effort you can develop all the
knowledge necessary to be the king of sound
at your house of worship.
Jamie Rio can be reached at jrio@fohonline.
com.
Phone
Web
Allen Products / ATM Flyware
2
562.424.1100
http://foh.hotims.com/23511-238
Sound Bridge
9, 12
800.628.9084
American Music & Sound/Allen & Heath
17
818.597.7711
Sweetwater Sound
23
260.432.8176
American Music & Sound/Midas
C2
818.597.7711
TMB
13
818.899.8818
Applied Electronics
10
800.883.0008
Waves Audio
6
011.972.36084113
Audio-Technica
5
330.686.2600
Westone Music Products
4
719.540.9333
Bosch/Electro-Voice
C1
248.876.1000
Worx Audio
11
336.275.7474
Checkers Industrial Products
2
800.438.9336
Yamaha Commercial Audio Systems
1, C3
714.522.9011
Crest Audio/Peavey
19
877.732.8391
Digidesign
7
650.731.6287
Earthworks
25
603.654.2433
MARKET PLACE
Full Compass
15
49 (0) 9421/1706-0
Drew’s Tickets
27
818.990.9170
Hosa Products
22
800.255.7527
Hi-Tech Audio Systems
27
650.742.9166
Hybrid Case
Insert
HME
27
858.535.6054
Kaltman Creations
3
678.714.2000
New York Case/ Hybrid Cases
27
800.645.1707
Production Intercom
21
847.381.5350
Sound Bridge
27
800.628.9084
QSC Audio Products
C4
800.854.4079
Sound Productions
27
800.203.5611
RSS by Roland
8
800.380.2580
Under Cover
27
508.997.7600
To Advertise in Marketplace, Contact: Jeff • 818.435.2285 • [email protected]
STAGING • LIGHTING • SOUND
Order online TODAY at www.plsnbookshelf.com
Check out what’s on our shelves!
Employment
If you think
classifieds don’t
work...why are
you reading this?
Call Jeff at
818.435.2285
NOW HIRING
IMS AV has a need for a Director of Audio. The right candidate will
have a minimum of 10 years of audio experience with working
knowledge of analog/digital consoles, line array systems, audio
recording, and system design. Candidate will be our A1 in the field
and set forth all procedures in the warehouse and conduct training
seminars. Knowledge of lighting, video, IT, and computers is a plus.
For more on this and other Job Listings Go To
2009 AUGUST
27
FOH-at-Large
1,000 Years to Life
By BakerLee
A
If the contractor marks up the equipment
more than the 20 percent margin, then they
are screwing with a very delicate balance of
fair market rate.
Now, let’s say this piece of gear gets rented on paper and without a required delivery,
10 different times by 10 different contractors.
By the time the piece of gear is delivered to
the final contractor, the cost to the client may
have rocketed up by as much as 200 percent.
Obviously, this kind of speculation works
better in the oil industry, but so be it. We, in
the audio business, are unfortunately relegated to renting our gear for a fairly fixed rate,
and while it may go up every few years, that
increase only keeps pace with inflation and
doesn’t stay ahead of it.
s you all know by now, Bernie Madoff
is in jail and serving a sentence of 150
years. It’s an absurd number of years
for anyone to be sentenced, and considering
that Madoff is now in his 70s, barring some
sort of divine intervention, he will in reality
probably only serve 15 or 20 years of said sentence before he dies in prison. By my calculations this will leave a good 130 years or more
of an unfinished sentence, and unless these
jail credits are similar to a tax credit for the
reincarnated, the years of unused sentence
will disappear as quickly as the ill-acquired
money in Madoff’s Ponzi scheme.
Only 150 Years?
FOH
A 150-year sentence may seem like a
long time, but Madoff’s sentence pales in
comparison to another multimillion-dollar
scammer, a 71-year-old man by the name of
Norman Schmidt, who is serving 330 years
in a Denver prison and, unless he gets unlucky, should leave a jail credit of about 310
years.
Not to be outdone, New York businessman Shalom Weiss, since 2000, has been
serving a term of 845 years in jail for his
role in bilking an insurance company out of
$400 million and costing 25,000 customers
their life savings. Weiss is now 64 years old,
and even if he manages to live for another
21 years, he will still leave a jail credit of 830
years of time not served.
Considering that 1,000-year life spans
have not been the norm since the time of
Methuselah, these are insane numbers by
any stretch of the imagination. My guess,
though, is that vengeance and greed are
somehow linked together by outrageous
math, and, while there is no number large
enough for the greedy, there is also no punishment large enough for them either.
Unfortunately, in this case, the greedy
are still not giving back all the stolen
money and, as an added slap in the face,
the vengeful are being short-changed by
hundreds of years of deserved punishment.
Very possibly, this is a spot where water
boarding could actually come in handy,
since the vengeful would most likely find
the punishment more rewarding than jail
time, and the greedy would almost certain-
COMING NEXT
MONTH…
FOH Interview
Negotiating a traffic jam
on blind faith with Eric
Clapton, Steve Winwood
and Robert Collins.
Road Tests
Surviving in the new
world of wireless with
the help of Kaltman
Creations and
Sennheiser.
A Fair Day’s Wage
ly “cough up” the locations of their offshore
accounts where all the ill-gotten gains are
being stored.
Reincarceration
FOH
Anyway, as impressive as it sounds to impose hundreds of years of punishment upon
these felons, hundreds of years of jail time is
not a practical punishment, and the multi-lifetime incarcerations would only make sense if
the courts dealt with these criminals in the
same way that the Tibetan monks relate to
the death of each Dalai Lama.
The way it works is that after each Dalai
Lama dies, a committee of monks traverse the
land seeking the reincarnation of his departed
soul, and when the reincarnated soul is found
— usually in the body of a young boy — they
then bring the child back to the monastery
for retraining as the new Dalai Lama. Imagine
how many generations of vengeful people
would find satisfaction in locating Madoff’s
reincarnated soul and imprisoning him again
and again until his sentence is completed.
I would think that a life sentence with no
chance of parole would be a better option
than handing out inordinately long jail terms,
but in our day and age of inflated numbers,
it make sense that we accept unrealistic jail
terms as well as improbable returns on our
investments. Paper money is and has been issued as a redeemable note against something
very real, such as gold or silver, but when the
amount of paper exceeds the amount of
whatever is backing it up, then that paper
money loses real value and becomes fantasy
money. Much like a 150-year jail term for a
71-year-old man.
Milking the System
FOH
We live in a world where traders make
millions of dollars with just a phone call and a
few keystrokes of their computer. Companies
trump up the value of their holdings by issuing millions of dollars in stock options against
28
nothing tangible, and then go broke, leaving the workers and small investors empty
handed while a few executives walk off with
millions.
Investment houses gamble on bad mortgages and then hedge their bets by insuring
them, thus making money on the sale of the
bundled mortgages as well as the insurance
claims for the failed mortgages. Finally, when
everyone declares a loss, they all receive billions in the form of a $700 billion government
bailout.
Somewhere along the way all this large finance, with numbers that can only be regarded as pure reverie, trickles down to the rest of
us working stiffs, and we are left with higher
credit card interest, more debt and less equity
in our homes and business.
Unlike those “Masters of the Universe,”
we, the little people, live in a very real world
of working for our money, and whether we
make $10 an hour or $100 as an hourly wage,
we lose money if our salary stays the same
when the cost of living rises. If there are no
regulations in place regarding pricing, then
anyone can charge what they like and business becomes a free-for-all until the buyers
lose faith in the system.
How It Works
FOH
In our business, we have two major selling points. The first is our time and effort; the
second one is the equipment we use. In regard to the pricing of equipment, we assign
a per-day price to said piece of gear that reflects a percentage of the purchase price. For
example, a speaker that is purchased for $500
might rent for $50 dollars per day and $125
per week. Easy, right?
If another sound contractor wants to subrent it from us, then we give them a 20 percent discount so that they can rent the gear
to their customer and make a little money
while the customer still gets the gear at its
going rate.
www.fohonline.com
FOH
That leaves us having to work for a fair
days wage, but therein lies the question, what
is a fair days wage? Since our hours are so erratic we often get paid an agreed-upon day
rate. If the gig turns out to be a little shorter
than expected, then great, we come out
ahead, but if the event lasts longer than we
anticipated then we lose. Therefore we have
to have some criterion for accepting or demanding a certain fee for a days labor.
That raises the question of what exactly
we are getting paid to do? The show itself
may only last an hour or so, but it might take
a 14-hour day to make the show happen.
Only six hours of the day are spent setting up
and breaking down the gear, therefore the
14-hour day is only a seven-hour workday. If,
for example, we are billing the client $30 per
hour for the day then the 14-hour day works
out to $420 dollars for the day, but if we only
charge $30 per hour for the seven hours
worked and $15 per hour for the down time,
then the day’s pay equals only $315. Fortunately for us, the latter scenario is usually not
an option since we don’t treat down time in
the same way we treat travel days. Payment
also depends upon whether the gig is a oneoff or if there are multiple shows. Regardless
of what one’s daily rate may be, a daily rate
on a weekly basis will usually will go down
a bit due to the amount of work that one is
guaranteed.
Making a Bundle
FOH
At any rate, no matter how one calculates it, by the time the end of the year comes
around, it always seems that the hours worked
are more than expected and the money made
is less than desired. Hey, life is tough for the
working stiff who gets paid by the hour or
day! C’est la vie. Maybe what we should do is
bundle our hours together and start selling
them to speculators who bet on the hours we
might work in any given day against the down
time in that same given day. We can even have
them speculate on the weekly hours for tours.
We can call the down hours “Sub-prime” hours
and have a large insurance broker insure the
bundled hours. The bundled hours will be sold
and resold until finally when a tour or show actually purchases the hours our rates will be 200
percent higher than when they were initially
quoted. The great thing about this plan is that
if the tour or show should lose money because
there are more “Sub-prime” hours than good
working hours, then the insurance company
has to cover the loss. See; with a little good
old American know-how and unregulated free
market trade we too can be Masters of the Universe.

a PDF - Front of House

Transcription

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