You can never have enough dynamic vocal mics. Rugged and dependable, these can also double as an instrument mic, while still taking the punishment of road life — making them ideal for live applications. And note many of the mics listed here are offered in similar versions with different polar patterns, so if you’re seeking a supercardioid or hypercardioid variant of a cardioid mic listed here, the answer may be just a few clicks away with the manufacturer URLs listed here.

To download a PDF of the FRONT of HOUSE Nov. 2020 Buyers Guide, CLICK HERE

Despite the devastating effects of the Covid-19 shutdowns on theater and performing arts spaces, the industry is looking ahead to the day when curtains will rise and again resound with the joy of thrilled audiences. During this time, facility upgrades are continuing, whether in converted environments, new construction and refurbs of existing venues. With that in mind, we present five recent installation projects. Each takes a different approach, proving there are numerous solutions to any audio challenge — large or small — for any performing space.

The Steven Tanger Center has the country’s largest Meyer Constellation variable acoustics system. Photo by Joey Kirkman

The Tanger Center, Greensboro, NC

The new $90-million Steven Tanger Center for the Performing Arts is the home to the largest Meyer Sound Constellation acoustic system in the U.S. Variable acoustical environments tailored for each performance allows the venue to host shows ranging from symphony performances, opera and spoken word events to touring rock concerts and Broadway musicals.

“From the outset, the economics were driven by selling out touring shows, which is why we set 3,000 as our minimum capacity,” says Matt Brown, managing director of the Greensboro Coliseum Complex, who operates the Tanger Center. “Our goal was to provide an optimum environment for both types of performances without compromising either.”

The project’s acoustical consultants were Arup of New York, with acoustical design at various stages guided by Matthew Mahon, Christopher Darland and Ed Arenius. Arup’s recommendation was to design the hall with relatively dry physical acoustics to accommodate spoken word and amplified music, with electroacoustic enhancement added as required for most other musical events.

As the new home of the Greensboro Symphony, the original concept was a 1,600-seat symphonic hall, but planned larger shows would sell double that number, and with the need to acoustically support both, the Constellation system provided the right solution. That decision was also prompted by the symphony’s musical director Dmitry Sitkovetsky, who had heard Constellation at Moscow’s Svetlanov Hall, and later experienced it first-hand, playing his Stradivarius with a string quartet at Meyer Sound’s Pearson Theatre.

Installed by Greensboro-based SE Systems, the Constellation system comprises 205 small full-range loudspeakers mounted laterally and overhead. Eight different models were deployed, both full-range and subwoofers, all incorporating Meyer Sound’s IntelligentDC for self-powered systems with simplified cabling requirements. For ambient acoustical sensing, 57 miniature condenser mics arrayed throughout the hall feed signals to the 18-module D‑Mitri digital audio platform. Five of the modules are D-VRAS processors hosting the Virtual Room Acoustic System algorithm.

“The acoustical toolset we have in Constellation as applied in a 3,000-seat setting affords economic advantages that I believe will be a model for all future performing arts venues of this type,” summarizes Brown.

The project was completed just days before the grand opening festivities for the new Steven Tanger Center for the Performing Arts was cancelled due to Covid-19 restrictions. However, the Tanger Center is looking forward with a 2021 (and beyond) schedule that includes Greensboro Symphony concerts with Kenny G and Sting; a busy inaugural Broadway season including Wicked, The Lion King and Dear Evan Hansen; and lecture dates with actress Sally Field and former U.K. Prime Minister Theresa May. A new opening date had not been announced at press time.

The Tanger Center

• Capacity: 3,000
• Key Components: Meyer Sound Constellation
• Integrator: SE Systems
• Designer: Arup of New York

The ISBVI Auditorium now has an Adamson IS-Series system.

ISBVI Auditorium, Indianapolis, IN

One of the largest and longest-standing institutions of its kind in the United States, the Indiana School for the Blind and Visually Impaired (ISBVI) in Indianapolis is revered and known internationally as an innovator in specialized education.

A recent project was the $600,000 renovation of ISBVI’s auditorium, so every show would be accessible to individuals with disabilities. The improvements included new audio, video and lighting systems with sophisticated captioning and described-video capabilities. Florida-based All Pro Integrated Systems (recently acquired by music/audio retailer Sweetwater) got the AVL system contract.

“They wanted a solution with super clarity and even coverage that would also respect the architecture,” says All Pro project lead Mark Salamone, referring to the historic 1929 auditorium. The project also required a versatile system to handle both cinema-quality 7.1 surround and fairly sizeable live performances.

“The big challenge was providing a detailed cinema system to handle rock concerts, while maintaining that fine detail for movie screenings,” Salamone emphasizes. “We knew it should be a line array solution, and right away, I felt Adamson Systems Engineering would provide the clarity and articulation they needed.”

All Pro’s Sarah Giles helmed the system design, working in collaboration with Adamson’s Christopher Weatherford and a team at the company’s headquarters. “When we modeled it, it seemed to just snap into focus and worked really well for that room — and we had the science to back that up from Sarah and Adamson,” Salamone recalls, pointing to the extensive CAD modeling and the effectiveness of Adamson’s Blueprint AV design and simulation software.

The main LCR system has three hangs of six ultra-compact IS7 two-way, full range cabinets from Adamson’s install-focused IS-Series, which packs the tour-proven performance of the S-Series into sleek, architecturally friendly enclosures. Loaded into the walls on each side of the stage, two IS119 subwoofers add low-end punch. The floor and balcony levels have side and rear surround systems with IS7p point-source models with 100-degree horizontal coverage, which — coupled with the LCR hangs — offer uniform voicing and even coverage throughout the auditorium. Staying unobtrusive to the building’s aesthetics, all the enclosures were custom painted to match the room’s décor.

After first hearing the system in action, “I was floored,” says Todd Malone, who oversees the auditorium and its AV systems. “It was exactly what we were after — incredible sound, plenty of power and headroom. We all loved what we were hearing.”

Anchoring the system at FOH is an Allen & Heath SQ-7, the 48-channel flagship console in the company’s SQ Series. “We wanted to keep operation really simple and straightforward but also give them those great mic pres,” Salamone notes. One goal of the new system was to introduce ISBVI students to production technologies, and ultimately have them operating these systems. In fact, braille stickers adorn the console and other components to help to train and guide those users.

Also key to the project is a long-throw Christie Cinema CP2215 15,000-lumen WUXGA projector, and all the AV components are controlled via a QSC Q-Sys network, with the various audio system configurations — performance or cinema, 7.1, 5.1, stereo, etc. — accessible at the push of a button.

“Adamson was right there as a great partner,” says Salamone. “Their engineers are top-notch and worked closely with us through the entire process. It was totally seamless from the client’s perspective.”

ISBVI Auditorium

• Capacity: Approx. 400
• Key Components: Adamson Systems IS-Series; Allen & Heath SQ-7
• Integrator: All Pro Integrated Systems
• Designer: Sarah Giles

A month after Radius’ packed grand opening, the venue was shuttered due to Covid-19 restrictions.

Radius, Chicago, IL

Following its initial opening in February — and awaiting re-opening due to Covid-19 — Radius was a steel factory transformed into a modern artistic venue. The 55,000 square foot facility is scalable from 2,500 to 3,800 guests, and offers exceptional acoustics, a VIP mezzanine level, artist lounges, production offices, RV/truck parking with direct access to the stage for load-in/out and a d&b audiotechnik KSL loudspeaker system installed by Brown Note Productions of Thornton, CO.

Designed for use as a pre/post-event space and set to go online in 2021 is Cermak Hall, located within the Radius complex. This 10,000 square foot multi-purpose event space will have a capacity for 1,350 guests and feature its own entrance, stage and a full bar.

“The project started four years ago — before the SL-Series was available — with the original spec for d&b’s J Series,” states Brown Notes’ Ryan Knutson, “and the KSL was the natural progression for the venue’s future sound reinforcement needs.”

The SL Series provides accuracy and control in line array performance, delivering full range broadband directivity and extended LF response. The second system to be released as part of the SL-Series, the KSL range provides these same benefits for use in medium-to-large scale applications.

The all-d&b audiotechnik P.A. configuration at Radius consists of seven KSL8 and four KSL12 line arrays per side (for a total of 22); ten SL-GSUB triple-21” cardioid subs; four Y10p front fills; two Y10p for bar area fills; two Y10p under-balcony fills; and five 10S-D for the mezzanine and VIP area fills. System power is via 17 D80 and three D20 amplifiers, with two DS10 Audio Network Bridges.

Knutson said the client was impressed after hearing a demo at Denver’s Mission Ballroom (a Brown Note KSL install). “The d&b KSL system was essential,” states owner Nick Karounos. “From the start, we wanted the sound to be a major differentiator for Radius and this system was the driving force. With this system and the venue acoustics, we’ve essentially addressed a major complaint of other venues that were a theater first and then retrofitted into a concert venue.”

Radius will entertain most every style of music, from rock to electronic and everything in-between. The venue is set up to handle most touring shows and, since the pandemic, has shifted to small, socially distanced experiential events and both private and corporate functions.

 Radius Chicago

• Capacity: 2,500-3,800, scalable
• Key Components: d&b KSL system
• Integrator: Brown Note Productions

Warner Grand Theatre, Los Angeles

The Warner Grand Theatre is the last of a series of classic Southern California cinema palaces from the 1930s that retains its original contours. Designated a Los Angeles historic cultural monument in 1982, the venue was purchased in 1996 by the city’s Department of Cultural Affairs, which has continuously operated this landmark art deco gem since then.

Now, the 1,525-seat theater hosts classic and art films as well as concerts and other live performances. As part of an upgrade a few months ago, El Segundo, CA-based Bell Event Services (BES) was selected to upgrade the venue with a modern sound system comprised of a VUE Audiotechnik al-8 line array sound system with as-418 subs and hm-112 stage monitors; DiGiCo SD12-96 FOH and SD9T monitor consoles and an SD-Rack with Stadius 32-bit I/O mic preamps on an Optocore HMA optical loop.

“The combination of the new consoles and the new P.A. system means this is a world-class destination for touring shows,” states BES president Michael Bell. The project was managed by BES audio/operations manager Tim Campbell, who worked closely with Victor Prudeaux, the theater’s FOH engineer and master electrician.

“With our last system, the biggest issues were intelligibility, and overall SPL on the floor and in the balcony,” says Prudeaux. “Once you got to audience sizes around 500 people, the system would run out of headroom. This issue was compounded in the balcony due to the physical distance of the balcony from the P.A. Our new al-8 VUE line array is a game-changer for us. We now have incredible coverage throughout and the vocals have never been cleaner.”

On the console side, in addition to the functional and operational benefits —the SD12 is supercharged with the SD12-96 upgrade, taking it from 72 to 96 channels and from 36 to 48 aux/subgroups, while the SD9T offers a redesigned “T” workflow to suit theatrical requirements. The consoles are also remarkably compact. Installed at the rear of the auditorium, the SD12 takes up far less space than the previous FOH desk. “They can now add more seats as a result,” says Bell, “for increased show revenue or social distancing purposes.”

With these enhancements, The Warner Grand Theatre is getting ready for its next 90 years, with upgraded projectors next on the list of planned purchases. “When touring comes back, the Warner Grand is going to be a real showcase room,” says Bell.

FOH engineer Victor Prudeaux at the venue’s DiGiCo SD12

 The Warner Grand Theatre

• Capacity: 1,525
• Key Components: VUE Audiotechnik al-8 line arrays; DiGiCo SD12-96, SD9T
• Integrator: Bell Event Services

The Grosser Sendesaal has an L-Acoustics Kiva II rig.

Landesfunkhaus Niedersachsen, Hanover, Germany

Hanover, Germany is home to the state broadcast station Landesfunkhaus Niedersachsen, which is part of regional public radio/TV broadcaster, Northern German Broadcasting (NDR). Its building is home to Kleiner Sendesaal, a 350-seat hall that plays host to an array of corporate and music events, and the 1,250-capacity Grosser Sendesaal, primarily used for the NDR Radiophilharmonie, which produces more than a hundred concerts each year. This year, both halls received a major audio upgrade designed around L-Acoustics’ ultra-compact, powerful Kiva II and flexible A Series.

Both halls host events from live music to film concerts with cinema sound, and the existing system was not keeping up with the demands for high quality sound reinforcement. “The ever-increasing sound quality requirements, coupled with the rider requirement of incoming productions led us to look for a new, optimized sound system that can take us into a new era of audio,” explains the facility’s Ingo Schwarze.

After assessing available solutions, L-Acoustics won out, both in technical sound measurement and listening tests. Besides a requirement for distortion-free reproduction and uniform coverage of the entire auditorium, “we also needed a system that would eliminate wall reflections, attain high speech intelligibility and attenuate sound onstage,” Schwarze noted.

Other issues involved architectural requirements, with clearly defined rigging points with weight limitations, height restrictions for film performances where speaker hangs had to clear the cinema screen and pre-configured placement of side and front fills.

The final configuration for the Grosser Sendesaal comprises left/right hangs of seven Kiva II and two SB15m subs in a cardioid arrangement. Three L-Acoustics SB18m subwoofers are positioned as mobile stacks on either side of the stage, with five Kiva IIs as side fills and nine 5XT coaxial speakers as stage lip front fills. “Kiva II excels in the large hall, where the hexagonal floor plan makes it exceptionally difficult to achieve uniform sound distribution,” Schwarze enthuses. “With Kiva II, those issues are noticeably improved.”

The Kleiner Sendesaal has left/right hangs, each with one A10 Focus and an A10 Wide. Two mobile stacks of two SB18m subs are positioned left and right in cardioid mode. “The A Series was chosen for the small hall, as the team wanted a highly versatile, full-range system,” notes L-Acoustics’ Sebastian Wittrock, who created the system design, adding “the A Series’ Panflex variable directivity offers the ability to steer dispersion in the horizontal plane, preventing unnecessary reflections from the walls.”

“We are really satisfied with the system design for both halls,” says Schwarze. “Our early experiences with the overall sound are extremely positive. We are very much looking forward to the first post-pandemic shows with physical audiences and are confident they’ll appreciate the excellent sonic quality of the new system.”

The Landesfunkhaus Niedersachsen

• Capacity: 1,250 (Grosser Sendesaal); 350 (Kleiner Sendesaal)
• Key Components: L-Acoustics Kiva II and A-Series
• Integrator: Amptown System Company

All the gear for this streaming session fits neatly on a couple cocktail tables. The UPS (Uninterruptible Power Supply) on the right adds an additional margin of safety. Photo: Steve Savanyu

During the pandemic, nightclubs, performing arts centers and entertainers are turning to live streamed events to connect with their audiences and keep the music alive. What started out as streaming from a Smartphone pointed at performers has grown to include multi-camera, live-switched video and high-quality mixed audio.

A stream signal chain includes video and audio sources with their appropriate mixer/switchers, an encoder to convert mixed audio and video into a digital signal and streaming software to push the stream out to the desired viewing platform (Facebook, YouTube, Twitch, etc.).

This article focuses on a portable streaming rig in a nightclub, but could apply to driveway concerts and performances in houses of worship and other venues.

‡‡         Audio Mixing for the Stream

Mixing for the stream is a live sound mix with one exception: the room.

I mic most everything on stage using standard close-miking techniques. Even in a small venue where you’d only mic solos and vocals, I put mics on all the players, including drums and amplified instruments. In this situation, monitor mixes are more critical, as performers do not hear the usual spill coming back from the mains.

If the venue is empty, I keep the main speaker system off and mix to headphones or small monitors located at FOH. Obviously, if the venue allows a limited socially distant audience, I use the mains, but at a lower level. Additionally, I add a stereo pair “room mic” in the audience area, routed only to the stream.

Although I normally don’t add reverb to the entire mix, a small amount can add a bit of life to the stream audio. I also add some overall compression on stream mixes to minimize overloading the encoder inputs. Remember, most people are listening to the stream on smartphones, tablets or computers.

‡‡         Video Cameras: Keeping It Clean

As streaming evolved, simple webcams were replaced by multiple video cameras connected to vision mixers, also known as switchers. A wide range of cameras, including prosumer camcorders, DSLR’s and POV action cams, can work for the stream, provided they have the appropriate video output.

The HDMI video standard sends uncompressed video with embedded audio to devices that can display or encode the signal. Commonly found in consumer or prosumer equipment, HDMI signals can run about 50 feet without signal degradation when using quality cable. I find this adequate for most of my setups. Serial Digital Interface (SDI), a video standard found in pro video gear, allows cable runs of up to 300 feet using standard 75-ohm coax, which I feel is more durable than HDMI cable. Two of my cameras offer SDI, and I use compact interface boxes to convert the SDI to HDMI at the video switcher.

Many video cameras have external outputs that mimic the viewfinder screen. If so, make certain the camera display data can be turned off for a “clean” signal, or it will appear in the stream. Older tape-based pro HD video cameras are affordable and work well for streaming. Along with HDMI outputs, they offer XLR audio inputs, SDI, better lenses and longer battery life.

DSLR cameras can be used for video streaming, provided they have a clean HDMI output. Their large sensors provide superb image quality and low-light performance. However, some DSLR’s limit their operating time to 20 minutes and shut down when it is reached.

For interesting angles, nothing beats POV action cams like the ubiquitous GoPro Hero. These tiny cameras offer high-quality HD video, clean HDMI output, and can be powered by external USB battery packs for extended run times.

Video cameras feature several automatic settings to make life easier for the operator. Although auto-focus sounds convenient, I normally turn it off and focus each camera manually. However, I choose to set the White-Balance to auto or AWB, allowing the camera to adjust automatically to lighting changes. Many cameras offer 4K resolution, yet I keep everything in the HD realm, and because so many people are streaming, social media platforms are limiting stream bandwidth to 720P or lower.

‡‡         Audio and Video — Bringing it Together

Early on, streaming musicians found they could improve stream audio by using an external mixer, good mics and a USB interface. However, they noticed latency issues between their video and audio. The solution is to transport sound and picture together over a common path. For a single camera stream, I connect the analog outputs from my audio mixer to the XLR line inputs on the camera. This way, sound and picture are in sync on the HDMI output feeding the encoder. If the camera’s audio inputs offer AGC (automatic gain control), make certain it’s turned off and set your audio levels manually.

Cameras send picture and sound over HDMI, so video switchers are designed to switch both. A function known as AFV, or Audio Follows Video, means that when a camera is selected, its picture and audio are sent to the program output. For streaming, I defeat this function and designate a specific input on the switcher for audio. The switcher sends in-sync sound and picture over HDMI to the encoder.

‡‡         It’s All About the Bandwidth

Like traffic on a highway, Wi-Fi speed is based on how many people are connected. As patrons and staff jump on the Wi-Fi for personal use, the upload speed deteriorates. Nothing is more frustrating than to see bandwidth fade as some punter is asking me for Wi-Fi access so they can check e-mail… I always verify the Internet connection speed on site using a speed test app and like to see at least 5 MBs upload speed. I prefer a hardwired network connection, so I carry a 100-foot Cat-5e cable and ask permission from the facility before plugging it in.

‡‡         Camera, Action… Lights!

Many venues I stream in have LED stage lighting that looks fine for a live audience, but downright awful on TV. (Nothing is more attractive than band members glowing like little blue cartoon characters due to the venue’s low-cost RGB LED PAR cans.) I always carry a set of LED video lights for front lighting the band. In a pinch, daylight LED spots in reflector sockets purchased from the local hardware store can work. I also have the house lighting tech configure LED’s as accent lights rather than specific color washes.

Event streaming is going to be with us for a while. Utilizing these tips to step up your stream can improve your production and viewer count. Happy streaming!

Steve Savanyu operates Buford T. Hedgehog Productions in Hudson/Macedonia, OH.

Brown Note Productions supported Covid-safe shows at Colorado’s Red Rocks Amphitheatre. Photo by Rett RogersSo far, 2020 has been a sadly recurring tale. Popular Americana, folk and R&B artist Nathaniel Rateliff is highly regarded by both critics and fans alike, both as a solo performer as well as with his Nathaniel Rateliff and The Night Sweats high-energy R&B band. To promote his current And It’s Still Alright solo album, Rateliff kicked off a tour in March at the State Theatre in Minneapolis, MN. And after that tour, he’d be opening for Bob Dylan’s summer tour. Everything seemed great, until mid-March, when just a few shows into Rateliff’s tour, Covid-19 venue closures put the kibosh on that scenario.

Undaunted, Rateliff went back into the studio, while waiting to continue live performances. Eager to get back out, the Denver-based artist arranged a string of socially distanced shows Sept. 15-21 at the famed Red Rocks Amphitheatre, with proceeds to benefit The Marigold Project, his Colorado-based nonprofit dedicated to economic, social and racial justice.

The main issue was Colorado’s limit of 175 persons per show. With the high rental costs for this 9,525-capacity venue, the economics for small audience shows didn’t make sense. However, as this was a benefit, an affordable rental arrangement was worked out, and the shows — which besides the limited attendance, also included drive-in style FM radio feeds to additional fans in the parking lot and multi-camera video shoots for later release.

Handling audio for the series was the Thornton, CO-based Brown Note Productions (who frequently provides production services at Red Rocks), and they brought in a d&b audiotechnik GSL line array system for the shows.

We chatted with Rateliff’s longtime studio and FOH engineer Jamie Mefford about the Red Rocks series. “Nathaniel loves playing live and wanted to do something,” Mefford explains. “When the tour earlier in the year was cancelled, he was really bummed and he wanted to do it one more time with full production and film it. He does a lot of stuff with The Night Sweats, and this was more folk-oriented and a more intimate show he wanted to bring home, play for hometown fans and film so the world could see it in its full glory, because the next tour will be with The Night Sweats.”

Nathaniel Rateliff played five shows at Red Rocks in September. Photo by Rett Rogers

‡‡         Lots of Changes

The Red Rocks shows featured Rateliff with the players in his core Denver band, some of whom are in The Night Sweats. For a different flavor, Rateliff swapped the horn section for a four-piece string section and added another drummer, making it totally different from his usual configuration.

There were also a few shifts in personnel. The band’s production manager, David Gleeson, usually mixes monitors, but he was in Scotland and couldn’t make the show. For monitors, Mefford turned to touring veteran Xandy Whitesel, the FOH engineer for indie folk band Bon Iver, who sometimes fills in on FOH for Rateliff when Mefford is unavailable.

In terms of FOH consoles, Mefford switched from the Avid platform to a Yamaha RIVAGE PM10. “I’m really happy with it. The PM10 is outstanding, and don’t think I am ever going to look back. I’m mostly mixing in the box, but I also carry a spring reverb. On this last record, Nathaniel recorded through an AKG spring reverb and wanted to capture that sound live, so we bought a couple Benson Amps spring reverb units, which sound great. I also carry a Bricasti reverb, which sounds amazing and does things that no plug-in can duplicate. I usually tour with a Rupert Neve Designs Master Buss Compressor and some Distressors I have in my rack, but I didn’t need them this time — the onboard Yamaha reverbs and the PM10’s Rupert Neve EQs sound great. We do a lot of fly-in dates, and I wanted to use as little extra gear as I could.”

‡‡         Capturing That Rateliff Sound

Rateliff has a great voice, so I expected some exotic stage mic, but he sings into a Shure SM58. “We tried a lot of vocal mics and kept coming back to the sound of the SM58. It just works for his voice,” Mefford explains. To capture Nathaniel’s acoustic guitar, Mefford likes having options. “I have three choices. I have a Radial direct box, an AEA ribbon mic on his acoustic guitar amp and an AEA KU5A cardioid ribbon mic clipped to his mic stand. We carry six or seven AEA ribbon mics on tour and use them every day. They’re really reliable and have held up over three years of flying and touring and festival stages — they’re bombproof!”

Kevin Morby opened for Rateliff’s Red Rocks shows. Photo by Alan Thackeray

‡‡         The System

For the shows, Brown Note Productions provided a d&b audiotechnik GSL P.A. (see gear list above for details) as well as an audio console package and RF for the drive-in feeds.

“We’re running a full d&b audiotechnik P.A., but we just used four or five fewer boxes per side than normal. It worked out really well. Actually, when we first put these shows together, I figured we’d just put in a really small P.A., but we decided to just hang the whole thing and a couple of other bands used the same system after we finished our series,” Mefford notes.

“Brown Note was one of the early adopters of the system, and I mixed another show at Red Rocks with it a couple years ago. I also mixed a GSL show at on the main stage at South by Southwest about two years ago. I really liked it at Red Rocks this time, especially with a recording truck there. As it’s a more focused, cardioid P.A., there was not as much sound bleeding onto the stage. And this GSL rig is especially smooth. When I walked up through the amphitheater, I couldn’t hear any zones, particularly in a place like Red Rocks, which is so steep. Even when you walk side-to-side to the extreme edges, there is off-axis dropoff, but it’s really smooth. I also like d&b audiotechik’s smaller KSL system, which I’ve mixed on at the Mission Ballroom here in Denver.”

‡‡         Into the Mix

“There was a limit of about 200 people in the amphitheater each night,” which, according to Mefford, “was both kind of cool and at the same time, kind of weird. When mixing at Red Rocks, you’re pushing your mix way up the hill and there are no delays. I live in the area, so I’ve mixed a lot of shows at Red Rocks, where you usually feel like you’re are blowing yourself out in terms of volume to reach the people seated way up at the top, because the FOH position is so close to the stage. But this time, most of the audience was sitting in the front and around the mix position. That was nice for me, because it’s the first time I’ve mixed at Red Rocks where everyone in the audience was hearing the same level as me.”

Speaking of levels, although everyone in the band is on in-ears, “the stage volume can get pretty loud,” says Mefford, “yet this folk version is a very dynamic show. It goes from very small, with just guitar and vocal — to giant, and with the strings and everything, it can be as loud as The Night Sweats, which is all rock ‘n’ roll to the wall. So it can be challenging to mix.”

Despite that, Mefford kept the SPLs in check. “At Red Rocks, I slowly turned up the level as the show progressed. I was generally in the high 80’s/low 90’s and peaked out a few times over 100 dB. It was a very comfortable level to mix at. And after months of not doing shows, it was get out and turn a P.A. up!”

Nathaniel Rateliff at Red Rocks

Sept. 15-21, 2020

Red Rocks Amphitheatre, Morrison, CO

AUDIO CREW

Sound Company: Brown Note Productions

FOH Engineer: Jamie Mefford

Monitor Engineer: Xandy Whitesel

Systems Engineer: Matt Brown

Production Manager: David Gleeson

Tour Manager: William Pepple

Simulcast Audio Engineer: Tim Seconi

Monitor/Stage Tech: Ryan Sullivan

Audio Techs: Matt Coplon, Josh Hatcher

P.A. GEAR

Main System: (24) d&b audiotechnik GSL8/GSL12 — 12/side

Ground Subs: (6) d&b SL-GSUB — 3/side

Front Fill: (4) d&b Y10P

Amplification: (2) d&b D80 racks

Drive: d&b Array Processing system

FOH GEAR

FOH Consoles: Yamaha RIVAGE PM10

Outboard: Bricasti M7reverb; (2) Benson Amps spring reverbs

RF System: 30W FM Exciter transmitter, FM/HD audio processor

MON GEAR

Monitor Consoles: DiGiCo SD10

Outboard: DiGiCo DigiGrid MGB (recording interface)
Amps: d&b audiotechnik D20

IEM: Shure PSM1000 (14 channels)

Mics: AEA, beyerdynamic, Sennheiser, Shure

DI’s: Radial Engineering J48, Passive Pro

FRONT of HOUSE’s New Gear section in the Nov. 2020 issue includes details on:

• Dynacord SONICUE 1.2 Software
• L-Acoustics K3 Line Source System
• Meyer Sound MAPP 3D Software Tool
• PreSonus AVB-D16 AVB-Dante Bridge
• Shure DuraPlex Subminiature Mics
• Studiomaster digiLiVE Micro Series
• Waves Audio V12 Plug-Ins
• Whirlwind TLP powerCON Cord Testers

To download a PDF of the FOH Nov. 2020 New Gear page, CLICK HERE

We live in a strange world. And historically, we always have. In Billy Joel’s “Summer, Highland Falls,” the song’s opening line is “They say that these are not the best of times, but they’re the only times I’ve ever known.” That stanza is just as appropriate then, today or in 1350 at the peak of the bubonic plague, yet yearning for the “good old days” remains a recurrent theme over the years.

Time travel has long been a science fiction topic, whether in a tricked-out DeLorean in Back to the Future, Dr. Who’s TARDIS or H.G. Wells’ The Time Machine. In fact, that prop DeLorean underwent a one-year restoration and is now displayed at the Petersen Automotive Museum. A few years ago, my friend Rich Murillo built a recreation of the version from 1960’s The Time Machine movie and takes his creation to events where delighted visitors climb aboard and can imagine traveling to some other era.

But if we could make such a journey, when do we wind up? Audio-wise, after years of near-unlimited instantiations of every plug-in imaginable, how many of us want to return to the “good old” days? Are we willing to give up modern perks such as tablet-based system tweaks/mixing or USB drive loading of console files, for the thrill of 52-channel copper snakes or mixing to Altec A-7’s?

In “Showtime” (page 11), FOH contributor Steve Savanyu mixed a socially distanced show on a (very analog) 2005-vintage Soundcraft MH2-40 house console in a 2,500-seat theater. He says the experience was fun, yet manual patching and not having access to dynamics on every channel was “weird.”

Good old days? Maybe, but just watch what you wish for.

Danley Sound Labs’ BC215 Directional Subwoofer promises the same low-frequency directivity as its predecessors by utilizing the same horn design philosophy, but this version also features multiple horn exit options, which allows for numerous possible configurations.

More details from Danley Sound Labs (www.danleysoundlabs.com):

Danley Sound Labs has always been into bass. Tom Danley has a history with producing some of the most unique subwoofers in the industry and the BC Series is no exception. The BC subwoofer class was developed out of what was a military project with Danley. The design criteria was to have an extremely high-output, low-frequency device fitted between the skids of a helicopter. From that project the BC412 was born and subsequently the BC415 and BC218.

The BC215 offers the same low-frequency directivity as its predecessors by utilizing the same horn design philosophy, but this version also features multiple horn exit options, which allows for numerous possible configurations. The dimensions (45” x 45” x 24”) of the BC215 allow for it to “stand-up” and fit below a standard 48-inch stage deck or can be configured to “lay-down” and have a 24-inch profile when the horn exit is changed. The “stand-up” configuration allows for the BC215 to offer the most directivity and can be coupled in a pair or a quad configuration for maximum low-frequency directivity without the need for any digital signal processing.

“The unique nature of having multiple horn exits is something we have done before on our TH212 so, when we had the request to have a BC subwoofer that was as flexible as that, we went to work,” stated Skip Welch director of sales and marketing for Danley Sound Labs. “The BC215 is just another ingenious design of Tom Danley’s and we couldn’t be more excited to be launching this product.”

By itself, a Danley BC215 will faithfully reproduce output from 33Hz to 180Hz at 137dB continuous and 143dB peak. It can handle 3400W continuous and 13600W peak at 2 Ohms and weighs in at 360 pounds.

NEW YORK – Attendees from around the globe engaged to “Listen, Learn and Connect” as the online AES Show 2020 expanded to become Audio Engineering Month with events and presentations throughout October.

More details from AES (www.aes.org):

From left, moderator Steve Baltin and Finneas, the Grammy-winning engineer, producer, and songwriter who presented the AES Keynote on Oct. 29.

From the opening of Audio Engineering Month to the final week of livestream Technical Program and featured events, the AES Show Fall 2020 Convention garnered overwhelming support from attendees, presenters and exhibitors alike. In spite of the monumentally difficult task of taking the AES Show online, sessions from top industry professionals and showcases by leading partner brands flourished, drawing virtual crowds and interactions to a variety of presentations afforded by the new virtual format. Additionally, as a benefit of the online format, nearly all Technical Program sessions from the AES Show will remain online through the month of November, with Partner Showcase virtual booths, presentations and more remaining open through December 18, while registration remains open for those who choose to enjoy the AES Show at their own pace.

Nearly 4,400 AES Show attendees logged on from 70 countries to take in over 300 livestreamed sessions hosted by more than 600 presenters and panelists on all things audio, from workshops on the latest tools and techniques, to the Special Events series featuring FINNEAS, Jackson Browne and friends, Imogen Heap, Platinum Panel sessions and more (including the AES Show’s opening statement from New York State Lieutenant Governor Kathleen Hochul). A wealth of research papers and engineering briefs were also presented during the final week of the AES Show, perpetuating the scientific and educational insights that are hallmarks of AES Conventions and adding to the Audio Engineering Society’s seventy-plus years of research and applications archives.

The AES Show “Time and Perception” Workshop was held on October 27. Shown, clockwise from top left: Panelists Thomas Lund, Karlheinz Brandenburg, and Marina Bosi.

“If there’s one defining aspect of AES Conventions, it’s the breadth, depth and comprehensiveness of the Convention Technical Program,” said AES President-Elect and Convention co-chair Jonathan Wyner. “The all-volunteer Convention Committee and the AES staff rose to the challenges of moving the Convention online and delivered an outstanding program without equal. With the online format, every attendee, from wherever they were in the world, had the best seat in the house. What’s more, with all the content available online for on-demand viewing, AES Show 2020 is still delivering throughout November.”

Rounding out the AES Show experience were a host of activities taking place both on-demand and in real time throughout the Audio Engineering Month of October, including Student and Career events (student competitions, project critiques, the Education and Career Fair and more), open-session roundtable discussions on a variety of topics, and the “7 Audio Wonders of the World” Tech Tours series, offering exclusive virtual walking tours of some of the world’s most revered studios. Partner Showcase events also took center stage, adding a trade-show-floor element to the AES Show, with live presentations, product debuts, and virtual booths that attendees could browse for information, videos, and demos of the latest gear from top brands.

AES Show Fall 2020 Convention co-chairs Valerie Tyler, Jonathan Wyner, Paul “Willie Green” Womack, and Jonathan Wyner

“The technology for online events is still maturing,” noted AES Secretary and Convention co-chair Valerie Tyler. “To port every aspect of an AES convention into an online format ended up requiring not just one, but three websites. In the end, that also allowed us to expand aspects of the convention in new ways that promise to deliver into the future.”

“One of the most exciting aspects of a virtual convention,” added the third convention co-chair, AES Governor-elect Paul Womack, “is that we were able to include contributions from artists, engineers, producers and audio experts that wouldn’t have been able to participate in an in-person event that required travel and a physical presence. The Special Events series and my own R&B and Hip-Hop Track were greatly enhanced by this additional star-power, a pattern that rippled through the entire Convention.”

Visit AESShow.com to find out more about additional Technical Program events, Partner Showcase exhibitions, and much more being made available through November. Showcase registration is free for AES Members, while non-members can register for just $25, or for free with a VIP promo code from one of the AES Show Partners (special thanks to AES Show Fall 2020 Convention Platinum Partners Amazon Devices, Focusrite, Focusrite Pro, Genelec, NTP Technology [DAD, Penta], and The Recording Academy Producers and Engineers Wing). For everything AES Show 2020 has to offer, including the comprehensive Technical Program, All Access Registration is still available, starting at just $149 for AES Members and $99 for AES Student Members.

To register, go to www.AESShow.com.

Photo by Peter McElhinney

RICHMOND, VA – Soundworks, which took delivery of their Martin Audio WPS and WPC line array systems in February this year, finally got a chance to deploy both systems for the first time in late summer for two socially-distanced outdoor concerts by the Richmond Symphony Orchestra.

More details from Martin Audio (www.martin-audio.com):

When Richmond, VA-based Soundworks took delivery of their Martin Audio WPS and WPC line array systems in February this year, they little knew that the world was within one month of lockdown. “The pandemic shut down all of our bookings from mid-March forward,” recalls CEO, Steve Payne. The company had to wait until the end of summer for the maiden voyage for both systems. But when it came—in the shape of two socially-distanced outdoor concerts by the Richmond Symphony Orchestra—it really set tongues wagging.

Soundworks have been contracted to provide sound reinforcement for all Richmond Symphony Orchestra’s community outreach concerts since 2015. “Each season the RSO will incorporate the performance of a popular local or regional artist into one of their ‘Big Tent’ gigs,” he explains. “The arranger will write scores for orchestral accompaniment to six or so of the guest artist’s songs. Past musical artists have included a wide range of musical styles and genres, and this year’s featured artist was the Commonwealth Bluegrass Band.”

Still to thoroughly road test their new scalable Wavefront Performance rigs, Soundworks used the September 12th show at Maymont Park to evaluate the power of WPS in the delay position with a view to future main FOH deployment. “The venue required that we cover a depth of 420ft, so we used two hangs of eight WPC for the main PA, with two SXH218 subs ground stacked per side, and two hangs of six WPS for delays at 220 feet, with a CDD-LIVE 15 at each of the main hangs as outfills.” The audience size was capped at 700, socially distanced.

“The conclusion was that WPS had plenty of impact and presence for use as a main system. We could not be certain that the WPS would be able to punch out to 290 feet as required at the next gig but felt sufficiently confident to give it a try.”

The next show was two weeks later at Pocahontas State Park in Chesterfield, VA, and around 500 socially distanced people were spread over an area that could have accommodated a maximum of 4,000 (standing). ”The performance of the little WPS in this space just seemed to fly in the face of logic and break all the rules,” exclaimed Payne. “There was little doubt that they were entirely capable of serving as mains. The first time we fired them up at Pocahontas was quite a revelation. The sound and performance were far above what one would expect from an 8” box. The rig did a stellar job of providing even, high fidelity audio out to 290 feet.”

Reflecting on both events, the Soundworks CEO continued, “The area for both concerts, but especially the Maymont Park concert, could accommodate a crowd vastly larger than the safely distanced audience. We do the Richmond Jazz Festival in this same space each year where audience size can approach 7,000. To cover the areas properly we are putting in systems capable of covering approximately 10 times the audience size under normal conditions.”

Seating at the Maymont concert included close seating to the sides of the stage which were out of the pattern of the WPC arrays. “We supplemented these areas with CDD-LIVE 15s on lifts at a height of about 10 feet. We were very pleased with the tonal integration between CDD-LIVE and Wavefront Precision,” he remarked.

Steve Payne himself carried out the venue measurements and system design in Display 2.3.

“Due to available amp channels [in the Martin Audio iK amps] both WPC and WPS systems were set to 2-box resolution at Maymont,” he states. “For the Pocahontas Park gig the WPS system was run at 1-box resolution.” Bryan Hargrave was the system tech and Steve Payne his assistant at both gigs. Jason Misterka mixed FOH at Maymont, while Grant Howard occupied the same role at Pocahontas.

As for the music source, with acoustic bluegrass and orchestral backup they had plenty of headroom in the system. “The sound was full and really pleasing, while the vocals were riding on top of the mix and right in my face. It was as good as I could have wished for.

“Both gigs were acoustic performances and so the real test put to the systems on these gigs was accurate fidelity, even coverage and long throw capability. Max SPL was never tested.”

Martin Audio’s ‘Hard Avoid’ feature worked beautifully at both gigs, he confirmed. “The advantage is especially noticeable with multiple open mics and acoustic instruments on stage. On some systems low mid build-up on stage rolling back off the PA can be a problem and create the need for remedial FOH EQing.” But in this regard, FOH mixer Grant Howard commented: “Basically all I had to do was shove the faders up. I left the house EQ flat and I barely touched the channel EQ.”

Steve Payne believes the main difference between a socially distanced audience vs. a tightly packed audience is that the system can be run at a 6 to 10dB lower volume to achieve the same result. “I don’t think there is any difference in approach to tuning or EQing.

“Martin Audio guarantees measured system performance will be within ± 1dB of the performance predicted by Display 2.3. With Wavefront Precision systems we have found that measurement systems such as SMAART are now essentially verifying target performance rather than revealing information to be used for correction. It’s very impressive.”

The Richmond Symphony Orchestra also found it impressive. Stated their Production Manager, Brent Bowden, “Pocahontas sounded fantastic and I heard many positive comments.

“I have heard a number of different line array systems over the years, both indoor and outdoor and some key factors stood out at these shows that I really enjoyed, apart from top notch engineering. Vocal clarity was noticeable without the dB spike that often results from boosting the human voice above other instruments. The evenness of the level in various locations was also very good, especially difficult in a flat, open park with delays.”

In conclusion, Steve Payne is confident that these systems will soon repay the investment despite sitting idle through the summer’s COVID pandemic. “We expect WPS to be capable of covering 75% of the gigs we used to cover with another manufacturer’s 10” system.

“To get the kind of performance that this system delivers out of a passive, physically diminutive 60lb box with 8” drivers is stunning. The symphony sounded gorgeous at every seat in the house, just stupid good! I am sure it will be the first rig to leave the shop at every opportunity.

“And of course having both WPC and WPL systems in our warehouse we can easily ramp up the performance whenever required.”

More photos:

Artist: Bleue (Patrick Watson) / Photographer: Bruno Destombes

MONTREAL – The organizers of the 21st edition of the annual MUTEK electronic music and arts festival in Montréal navigated a delicate pathway between virtual and live performances at the two venues hosting in-person/live-streamed performances: the Society for Arts and Technology (SAT) and Cinquième Salle at Place des Arts. The event adapted to the times with a hybrid model that depended heavily on Meyer Sound products and highlighted the company’s new spatial sound design and mixing tool, Spacemap Go for iPad.

More details from Meyer Sound (www.meyersound.com):

Artist: Alicia Hush & Elysha Poirier / Photographer: Myriam Ménard

According to MUTEK sound designer Jonathan LaFontaine of One Wave, the festival’s approach had to adapt to the evolving restrictions on live performances. Once the venues were confirmed, One Wave worked closely with GerrAudio Distribution and Meyer Sound to put together effective solutions.

At Place des Arts, the system consisted of eight Meyer Sound LINA line array loudspeakers per side, two ULTRA-X40 front fills and six 900-LFC low-frequency control elements flown in a straight line at roughly the same level as the LINA boxes. LINA, the smallest and lightest member of the LEO Family, addressed specific challenges in Cinquième Salle, according to Gaetan Bouffard, the venue’s head of audio. “Normally we do theatre, dance and opera and we have a Meyer PA system we can adapt to fit those applications,” he explains, “but for electronic music you have to have a system powerful enough to deliver more SPL. The LINA line array was the perfect fit. It’s compact and light enough to hang without overloading the weight capacity of the hall, and the coverage is amazing.”

Artist: CMD / VJ: Melesul3 / Photographer: Bruno Destombes

The SAT venue also presented challenges. First of all, the 50-person audience was seated low to the ground in beanbag chairs. “We needed a system that had a lot of punch in the low end, but we didn’t want to block the video on the 360-degree projection dome,” says LaFontaine, “so we ground-stacked one 900-LFC sub with four LEOPARDs on top per side, plus three more 900-LFCs for additional low-end reinforcement. We also had eight ULTRA-X40 point source loudspeakers spread around the room for surrounds.”

Artist: Desert Bloom / VJ: Myriam Boucher / Photographer: Myriam Ménard

Meyer Sound’s MAPP 3D, the company’s new prediction software, was used in both venues, which aided in delivering precise, high-resolution audio for these challenging applications. But it was the deployment of Meyer Sound’s new Spacemap Go — a spatial sound design and mixing tool that leverages the company’s highly successful GALAXY Network Platform — that took a starring role in SAT. Spacemap Go provides smaller venues, normally mounting less sophisticated productions, with a highly adaptable tool to create a highly immersive experience at relatively low cost. MUTEK deployed a late pre-release version of Spacemap Go.

Artist: Ouri / Photographer: Myriam Ménard

“The way the software works is you basically draw a map on an iPad — you can use the existing loudspeaker layout or not — to direct where and how you want the sound to move around. There’s really no limit to what you can do,” LaFontaine explains.

Given that none of the engineers would have experience with the tool, a few pre-programmed Spacemaps were provided, though users were encouraged to come up with their own. At first some were gun shy, but those who took the opportunity were suitably impressed. As Mathieu Parisien, longtime FOH mixer for Patrick Watson, puts it: “We didn’t have a lot of time to set up and I have to say I wasn’t sure about it. This was the first show we’ve done with new music that wasn’t played in front of people before, but I was able to make Spacemap Go work pretty rapidly.”

Artist: Guillaume Coutu-Dumont / VJ : Diagraf / Photographer: Myriam Ménard

In addition to the pre-programmed patterns, Parisien also drew one of his own. “I was impressed and surprised with how easy it was,” he says. “These kinds of things can sometimes sound gimmicky. It’s like when you mix an album; if you process everything too much it doesn’t feel right. But Spacemap Go did the opposite, actually, so I was amazed and really enjoyed using it.”

Artist: Pelada / Photographer: Bruno Destombes

Overall, the systems proved a perfect match for the unique demands of the festival, says LaFontaine. “Meyer Sound is a good fit for electronic music due to the linearity of the system, especially the subs,” he notes. “People tend to forget that sub frequencies aren’t only a frequency range, they’re also musical notes. Some products are what I call ‘one-note’ subs. They’re efficient at reproducing the frequency at which they’re ported, which means that that one note will come out louder. And that is anything but musical. Meyer Sound loudspeakers reproduce all notes evenly, without distortion, and can go very loud if you want them to.”

Artist: Bleue (Patrick Watson) / Photographer: Bruno Destombes

SPACEMAP GO PUBLIC ROUNDTABLES

Meyer Sound’s Spacemap Go public rountable discussions will continue November 18 and December 2. Throughout each discussion, Meyer Sound panelists will be available for Q&A. Register for the 9 AM PST sessions here and the 5 PM PST sessions here: https://zoom.us/meeting/register/tJUtfumhrDotGdTp91A6HPnxtNHolHFXgGAA

MOCKSVILLE, NC – Special Event Services’ (SES) news 52,000 square-foot headquarters Mocksville, NC is open for business. The facility features accessible loading docks, a rigging workshop, a lighting and video studio, ample parking and plenty of storage space. SES also announced that Michael Brammer, son of Jim and Lynn Brammer, who co-founded the company with Jeff Cranfill in 1994, is now a fully-vested partner in the company.

More details from SES (www.specialeventservices.com):

Lynn and Jim Brammer

When Jim and Lynn Brammer, along with Jeff Cranfill founded Special Event Services, which emerged from the Brammer’s garage in 1986, no one could predict the success, adversity or triumphs their creation would produce.

Acquiring the former Winston-Salem, North Carolina headquarters, previously an RJR Tobacco Warehouse, in 1994 seemed like a major breakthrough to Jim Brammer at the time, considering the family-oriented company’s humble beginnings. He initially thought the original, brick and electric fence-lined building would hold all the space SES could ever need.

However, as SES continued to acquire larger events and clients with greater production needs, the former headquarters’ warehouse became overcrowded. During the slower times of the year, when all gear was stored in the warehouse, it was packed to the ceiling. Some gear was even left on trucks, simply because there was not enough space.

Coming to the realization that the growth of the business would require more than the original space could provide, Jim Brammer, along with SES partners Cranfill, Don “Bogie” Cates and Jason Farah began envisioning a more ideal, functional building.

After two years of construction, the new SES location, located in Mocksville, NC, is now fully operating and functioning. The 52,000 square-foot headquarters boasts easily accessible loading docks, a rigging workshop, a lighting and video studio, a spacious parking lot and an abundance of storage space.

Michael Brammer

Michael Brammer, SES staff member and son of Jim and Lynn Brammer, has been immersed in his parents’ company since birth. He was also immensely involved in the creation and execution of the new headquarters.

“Opening a building in the middle of a pandemic may not seem like the wisest decision,” said Michael Brammer. “But for our staff, it’s been a beacon of hope we can rally around.”

However, the new headquarters is not the only beacon of hope for Michael Brammer. During the dedication of the building, Jim Brammer invited his son to stand beside him, alongside the three other SES partners. He shared stories of how each partner has contributed to the company’s success and journey, ending with his son.

Jim Brammer reminisced upon the lifetime of memories he shared with his son, all of which involved some element of the company. From spending his childhood at concerts with his parents, to foregoing his college education to become a full-time staff member, SES has always been at the center of Michael Brammer’s life.

And it will continue to be. Jim Brammer concluded the dedication by announcing his son’s fully-vested partnership in SES.

“Having Michael come up through the company, seeing the positions he’s filled along the way and watching my peers begin to respect him for being him, not for being my son, but for being him,” said Jim Brammer. “It was a great moment when I could say, ‘Son, you’ve earned it. It’s time to share a heavier part of the responsibly and the rewards’.”

Michael Brammer and his family will continue the generational legacy of SES alongside his team he has assembled.

“For me, becoming a partner is an additional driving force to continue to push the company forward,” Michael Brammer said.

Despite the uncertain future of the live entertainment industry, the partners of SES have faith that they will overcome the disruption caused by the COVID-19 pandemic and return to prosperity.

Meanwhile, the newly constructed Mocksville location, along with Michael Brammer’s partnership, holds promise for the Brammer family, SES staff and future generation of the live entertainment industry.

LAS VEGAS — As previously announced, the Parnelli Awards, which have coincided with the Winter NAMM show in recent years, will take a “gap” year in 2021. Instead, as NAMM goes virtual this year with its Believe in Music Week (Jan. 18-22), a retrospective of the Parnelli Awards’ 20-year history will appear in a special section within the Jan. 2021 issues of PLSN and FRONT of HOUSE magazines.

“We are grateful to our sponsors stepping up to be part of this special section which is sure to be something of a keepsake,” said Terry Lowe, executive producer of the Parnelli Awards and publisher of PLSN and FOH. “It’s important to ‘keep the torch lit’ and honor our rich tradition.”

These “Keep the Torch Lit” Gold Sponsors for the Jan. 2021 special section include 4 Wall Entertainment, d&b audiotechnik, Harman, Maryland Sound, Meyer Sound, Rock-it Cargo, Sound Image and Strictly FX. Silver Sponsors include Elation Professional, Global Trend Productions, Hemphill Brothers and Stageline. (To add your name to this list, contact Greg Gallardo at gregg@timelesscom.com and 818-216-5336.)

“Believe me, there’s nothing I’d rather be doing than being knee deep working around the clock preparing for the Parnelli Awards show right now,” said Kevin Mitchell, Parnelli Awards producer. “That said, it has been an honor and a privilege to pause during this ‘gap year’ and dig deep in the archives and relive all the incredible moments we have shared together. I am personally and professionally grateful to our sponsors for making this possible.”

The special magazine section will include the history of the Parnelli Awards, commentary from co-founder Terry Lowe and longtime Parnelli board chairman Marshall Bissett, listings of award recipients in the career achievement categories over the years — Lifetime Achievement Award, Visionary Award, Audio Innovator Award and Parnelli Hall of Fame — and other highlights of the awards ceremonies staged over the last two decades. Lowe adds that a special video including 20 years of Parnelli highlights is now being prepared.

For more information about the Parnelli Awards, go to www.parnelliawards.com

Vincent Lambert

WUPPERTAL, Germany — Signaling Riedel Communications’ continued growth in the Asia-Pacific region, the company has promoted Vincent Lambert to general manager for Riedel Japan and South Korea. Moving into his new role after serving for four years as Riedel’s head of global system consulting, Lambert reports to APAC director Simon Roehrs.

More details from Riedel (www.riedel.net):

As head of global system consulting, Lambert grew a team of 10 customer service engineers into a 33-person technical presales department focused on strategic, structured, high-performing commercial support. Prior to that, he served as system consulting manager for Riedel APAC in Japan. Other previous positions include manager of operations and technology at Walt Disney Television Japan, sales and product management functions at FOR-A in Japan, as well as several broadcast engineering roles in London. Lambert attended Columbia Business School in New York City, London Business School in the U.K., and Hong Kong University, where he received an executive MBA through a joint global program. He also holds a bachelor’s degree with honors in broadcast engineering from John Moores University in Liverpool, U.K.

“Vincent is the ideal choice to head Riedel Japan,” said Roehrs. “He brings a powerful mix of broadcast engineering, sales engineering support, and business management to this important position, as well as in-depth knowledge of the Riedel product family and our customers’ requirements. He and his five-member team are perfectly positioned to propel Riedel into the next generation of growth in the vital APAC region.”

Lambert takes the helm of a Tokyo-based operation that has grown significantly since its opening five years ago. In 2018, Riedel Japan moved to a spacious new headquarters located between the popular Shinjuku and Shibuya districts and near the new National Stadium. The Tokyo facility, designed to foster collaboration and connection with APAC clients, is situated near Riedel’s long-term local partner Otaritec.

Martin Berger, CSO of Riedel, added, “Since opening our Tokyo headquarters back in 2015, we have doubled our size and presence in the world’s largest metropolitan economy. Our current office reflects our company’s commitment to further improving communication and customer service, support, and relationships with APAC partners and customers. The investment has really paid off: We’re able to serve local customers even better than before, especially at large, high-profile events in Japan such as the 2019 Rugby World Cup and next year’s Summer Games.”

Alcons’ CRMS-SRIW/120 is designed to serve as an ultra-compact reference main / screen system – or compact surround system in immersive sound-for-picture applications. It can also be used as full-range sound system in any installed audio application, where a very high quality sound reproduction with inconspicuous in-wall or on-wall mounting is required.

More details from Alcons Audio (www.alconsaudio.com):

As such, typical applications include sound system for auditoria, performing arts theaters, screening rooms, post-production facilities and dubbing stages, premium Home Cinemas and quality-conscious cinemas.

The CRMSC-SRIW/120 is part of the CRMSC system series: By utilizing identical MHF components, a perfect voicing matching between screen- and surround system is realized, resulting in an exceptionally wide and uniform sound stage throughout the entire listening area.

Featuring the patented Alcons pro-ribbon transducer technology, the CRMSC-SRIW/120 surround combines an exceptional clarity and intelligibility with an unusually high dynamic range, offering the most realistic linear sound reproduction possible at any SPL.

The two-way passive-filtered CRMSC-SRIW/120 system consists of the RBN202 pro-ribbon driver for HF and a vented 6.5” mid-bass for LF reproduction; the HF section has a 500 W peak power input, enabling a 1:16 dynamic range with up to 90% less distortion from 1 kHz to beyond 20 kHz.

The patented 120-degrees and patent-pending 90-degrees dispersion up to the highest frequencies not only offers a very wide and coherent direct-field coverage throughout the listening space; it also guarantees a consistent reflected diffuse-field response.

The CRMS-SRIW/120 low frequency section is tuned for a usable frequency response down to 53Hz, enabling a smooth transition with additional LFE subwoofer systems.

The Signal Integrity Sensing pre-wiring ensures complete cable/connector compensation between the CRMSC-SRIW/120 and the ALC amplified loudspeaker controller, the dedicated drive-engine; together with VHIR processing, SIS significantly increases response accuracy, regardless of cable length and system impedance.

Philip “Dr. Phil” de Haan, head of Alcons Audio R&D: “One of the strongest and continuously returning requests we have been receiving from the customers and installers on the CRMS series, has been minimal cabinet depth. The new patent-pending waveguide we’ve developed, enables us to minimize cabinet depth to 100 mm / 3.9-in fitting in typical “2-by-4” wall constructions, while maintaining full projection control up to and beyond 20.000Hz, which is unique with ribbon line-source transducers.”

Further to the ultra-shallow depth, the CRMSC-SRIW/120 also features a revolvable RBN waveguide, optional cloth grill and ACO Architect Color Option in 180+ RAL color schemes for easy, inconspicuous in-wall or on-wall mounting.

As a result of Alcons’ tight manufacturing standards, all CRMSC system cabinets are well within “matched pair” tolerance, for a reference studio-grade response.

The system comes with a 6-year “no hassle” warranty.

More information on: www.crms.info

Pioneer Professional Audio is expanding its XY Series with the new XY-1 and XY-2.

More details from Pioneer: (www.pioneeraudio.com):

Two new loudspeakers are joining the Pioneer Professional Audio XY Series: the XY-1 and XY-2E. Developed to allow more versatile use of our flagship XY-3B, the XY-1 and XY-2E represent the LF and MHF sections respectively and each unit is available in black. Using these individual enclosures enables installers, rental houses and touring companies to easily build ground stacked point-source arrays and deploy systems in venues with low ceilings via a wide variety of configurations.

XY Series loudspeakers provide excellent reliability and outstanding audio quality to nightclubs and music venues around the world. In September 2017, we introduced the XY-3B and XY-2 which incorporate our X-Phase system. And now, with the release of the XY-1 and XY-2E, even more venues and events can benefit from the performance of an XY Series sound system due to the horizontal-array deployment options offered by the new units.

The XY-1 consists of two 12-inch custom drivers in a hybrid dual-chamber configuration – exactly the same as the XY-3B, maintaining the chest-pumping low end of the flagship model.

The XY-2E is much more than an XY-2 in an enclosure. We’ve kept the X-phase system, but we’ve enabled individual control of the 8-inch cone driver and 1-inch compression driver, which wasn’t previously possible.

These adaptable new additions to the XY Series can also be used as stage fills, for live PA and DJ booth monitoring, thanks to the tailor-made accessories that make them easy to deploy in tight spaces.

The XY-1 and XY-2E are both available from today. To buy or rent the speakers, contact your local installer or rental partner. Find out more about the new XY-1 and XY-2E.

To coincide with the release of the XY-1 and XY-2E, we’ve also launched the new, refined Pioneer Pro Audio website, at https://www.pioneerproaudio.com/en/.

VOUS Church production coordinator Jon Wygant with the new DiGiCo Quantum338 mixing console at the church’s iTech location

MIAMI – Although Miami’s annual VOUS Conference has been taking place for more than a decade, VOUS Church first officially launched five years ago out of a weekly young adult gathering known as The Rendezvous, started by Trinity Church in Miami Gardens. Since then, VOUS Church has grown rapidly, expanding into two worship spaces—a 1,500-seat auditorium at iTech, Miami’s mega technology magnet high school, and a 500-seat hall at Jose De Diego middle school, just two miles to the south. But the real audience explosion has taken place virtually, especially during the pandemic, with the church now having an average of 40,000 viewers streaming services online each week.

More details from DiGiCo (www.digico.biz):

The view from VOUS Church’s stage just prior to a Zoom R

VOUS Church Production Coordinator Jon Wygant oversees all church sound, both live and studio, as well as personnel and inventory for the production department. He served on the church’s launch team in 2015 and, since then, has been tasked with keeping VOUS’ audio tech up to par. It was this directive that prompted him to reach out the local shop of 3G Productions to supply iTech Auditorium with a new DiGiCo Quantum338 mixing console.

“We’ve had a DiGiCo SD9 at each of our locations from the start, and I absolutely love them,” he says. “The SD9 is still a powerhouse for such a small desk, but as we made plans late last year to take our services into an online experience, we decided to upgrade to a console that would better suit our broadcast site’s future needs. As the primary engineer here, I definitely spend the most time behind the mixing console, and I knew I wanted another DiGiCo. For ease of use, high-quality sound, and cross-console capability, there’s nothing better. I was initially hoping for something between an SD12 and SD5, so when DiGiCo announced the Q338 in January, it was destiny.”

Wygant says that, for him, the biggest appeals of the Quantum338 were its expansive I/O—including six onboard MADI ports and two DMI slots—as well as its updated layout and usability. “We have a pretty extensive setup and also want room to grow and the Q338 was sitting right in that sweet spot. Mixing on this desk is a dream and just so intuitive to operate.”

With VOUS Church’s services now primarily being online, aside from several live in-person events, iTech Auditorium’s Quantum338 serves more as the church’s streaming console than FOH desk and is isolated in a separate room “to keep the mix focused and clean,” Wygant notes. The pre-existing SD9 has now taken over monitor duties, residing in the main worship space for easy interaction with the praise team, and is used to control all IEMs, wedges, and the house/reference mix. With approximately 60 inputs coming into the house console, the church generally runs 16 different IEMs on the monitor mixer—for drums, bass, two guitarists, two keyboardists, up to eight singers, and two engineers—plus two sets of wedges, which are primarily used for those who are speaking.

iTech’s Quantum338 is paired with two Waves Extreme Servers, the first one being a standard setup to run plugins for the live mix. The second is to run a Waves eMotion LV1, to which the audio crew sends matrices and some input channels via Dante from the Q338 to create a stream-specific mix. This is based on the house mix with some adjustments to optimize it for the church’s four YouTube and Facebook broadcasts on Sunday, two of which are “Zoom Room” services where the pastors and musicians can see and interact with their online community via eight large TVs facing the stage.

“Mixing for streaming is always a challenge since it can translate differently with each end user, but the Q338 is definitely making our lives a lot easier,” Wygant declares. “I enjoy bringing some of the same plugins that I love in the studio into the live setting, and the desk’s integration with Waves is helping us get our mix to be truly stream-friendly and sound the best for everyone.”

“With that being said, I do also really love the console’s onboard processing,” he adds. “The dynamic EQs are some of my favorite features as they really allow me to aggressively clean up signals while still sounding transparent. On the Quantum line, I am in love with the Chilli 6 and will always have one on my master bus as well as a few groups. The Mustard processing is also a game-changer, especially with the analog modeled preamps and compressors.”

The church is using DiGiCo D-Racks and Little Blue Boxes to interface with both consoles. The SD9 has control of the preamps and outputs, and the team uses Gain Tracking on the Q338, which is equipped with a DMI-Dante card, to output to the LV1. VOUS also has a DMI-ADC card in an Orange Box located by the monitor console, enabling them to send 16 additional outputs to the stage from the Q338, while two DiGiGrid MGB units provide fully redundant multitrack recording.

Wygant shares that the Quantum338 learning curve for their team was “really short. Having personally mixed on many SD-Range consoles, going from one DiGiCo to another is so easy since the worksurface layout essentially remains the same. Plus, 3G, who has been our main pro audio vendor from the start, always provides exceptional system design and installation assistance as well as training and support, bringing us up to speed super-fast. They’ve been fantastic to work with.”

And as for DiGiCo’s newest console, Wygant couldn’t be happier: “Our entire team is in agreement that this desk is as smooth as butter. We have a blast collaborating on improving our layout and making new macros, and we’re really loving the flexibility and sound quality it provides. Running services and streams on the Q338 feels almost effortless and mixing on it each week is such a thrill. We are truly blessed.”

For additional details on VOUS Church, visit www.vouschurch.com. 3G Productions can likewise be found online at www.3glp.com.

LONDON – Britannia Row Productions Training (BRPT) has been awarded £152,000 as part of the Government’s £1.57bn Culture Recovery Fund (CRF) announced by the Culture Secretary to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future.

More details from BRPT (www.britanniarowtraining.com):

Britannia Row Productions Training is one of 2,049 cultural and creative organizations across the country to have been awarded £409m of urgently needed support (up to 24th October 2020). The Culture Recovery Fund grants program is being administered by the Arts Council England on behalf of the Department for Digital, Culture, Media and Sport. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

BRPT was founded in 2012 to provide holistic training for those wanting to enter the live events industry as live audio technicians. Courses available from colleges and universities are not targeted enough for this niche sector, making it hard for graduates to enter the workplace as invariably a certain amount of re-training is required. Furthermore, these institutions tend to lag behind with teaching the latest technologies, equipment and working practices.

All BRPT training courses are written, kept up-to-date and delivered by tutors who are industry practitioners working at the top tier of the industry. BRPT has developed and offered a range of courses which have allowed for part-time study through to intensive full-time courses and a 3-year BSc Hons degree.

BRPT students book onto its courses for a variety of reasons. Some already make a living from live audio and simply want to increase their knowledge in certain areas. The motivation for most students is to be enabled to enter the industry. BRPT has seen hundreds of its graduates secure their first jobs in the industry, with many more rising quickly to senior roles.

In March 2020, the Company’s training activities were, and have remained, suspended due to the restrictions resulting from the COVID-19 pandemic. Being awarded a Culture Recovery Grant, BRPT now has the ability to offer all potential students to study with BRPT at a distance, online. The grant is a lifeline for the company. Over the next five months, most of the grant will go to audio and video professionals who will be working on producing the online training – and provide them with much-needed income. Marketing of the online courses will begin in late November with the first courses scheduled to be available in January 2021.

Culture Secretary Oliver Dowden comments: “This is more vital funding to protect cultural gems across the country, save jobs and prepare the arts to bounce back. Through Arts Council England we are delivering the biggest ever investment in the arts in record time. Hundreds of millions of pounds are already making their way to thousands of organizations.

“These awards build on our commitment to be here for culture in every part of the country.”

Chair, Arts Council England, Sir Nicholas Serota, says: “Culture is an essential part of life across the country, helping to support people’s wellbeing through creativity and self-expression, bringing communities together, and fuelling our world class creative industries.

“This latest set of awards from the Culture Recovery Fund builds on those announced recently and will help hundreds of organizations to survive the next few months, ensuring that the cultural sector can bounce back after the crisis. We will continue doing everything we can to support artists and cultural and creative organizations, with further funding to be announced in the coming weeks.”

BRPT’s Managing Director, Mike Lowe, furthers: “I see the Culture Recovery Grant as not only being a lifeline for our training efforts and for those involved in the project over the coming months, but for the whole industry. In normal times, sound engineers and technicians retire; others move on to a whole variety of different roles such as production, technical support or in development for audio equipment manufacturers. This shrinkage in the talent / labor pool at the top end is fed by the pipeline of young people, equipped with the required knowledge and skills, entering the workplace at the beginning of their careers. This pipeline has already been broken by a year. The prognosis is such that it will be broken by at least two years. The natural rate at which sound engineers and technicians move on is accelerating due to the current crisis. Some with family responsibilities are re-training to work in other industries which can provide more immediate and reliable income at this time. Others, who planned to retire in the next two to three years are taking retirement early.

“When our industry is in a position to return to normal levels of activity, the activity will be big. All artists, promoters and venues want to and need to get back to work. Live events industry workers are needed to allow them to do so. Being able to offer COVID-safe distance learning should help enormously with this oncoming problem. By moving from largely ‘physical’ training to largely ‘virtual’ training, we will reduce our cost of delivery and hence reduce costs for students. This reduction applies not only to course fees but to travel, accommodation and sustenance costs. In turn, we hope to see opportunities for a more diverse range of students than ever before.

“In the live events industry’s darkest hour, the Culture Recovery Grants and Loans offer some very welcome light and some very exciting opportunities.”

Danley Sound Labs’ SM90 is the latest addition to its SM Series of full-range loudspeakers.

More details from Danley Sound Labs (www.danleysoundlabs.com):

Like other members of the series, the SM90 uses the patented, Synergy Horn technology from respected acoustician Tom Danley to deliver stunning musicality, intelligibility and impact. The SM90 delivers a 90-degree conical coverage pattern and accommodates multiple mounting options from wall-mount, to ceiling or suspension mounting to pan/tilt via threaded inserts, on the rear of the cabinet, when using the Adaptive Technologies MM-060 bracket. It delivers flat output from 63Hz to 24kHz (-3dB) and a frequency range of 40Hz to 30kHz (-10dB) with a coaxial twelve-inch and one-inch driver allowing it to deliver 120dB continuous and 126dB peak output while handling 300 Watts continuous and 1200 Watts peak. Another Danley feature is the built-in Sentinel high-frequency protection circuitry.

“The SM90 is an extremely flexible solution that is an excellent main PA for smaller houses of worship, auditoriums or theaters, or can be used as delay- or fill-speakers in larger venues,” said Skip Welch, director of sales and marketing with Danley Sound Labs. “Designers have always noted that our extensive product offerings, which span a complete range of output needs and coverage patterns, make it possible to design almost any space with Danley products. The SM90 is yet another useful tool in that collection.”

At 55 lbs., the Danley SM90 is built from Baltic birch with a polyurea coating and is available in standard black or white, with custom colors available. The SM90 is now available from Danley Sound Labs.

Eastern Acoustic Works (EAW)’s MKD1200 Series extend the company’s MKD Series of full range loudspeakers created for installation applications.

More details from EAW (www.eaw.com):

The MKD1294 and MKD1264 are three-way designs engineered to produce high output levels and outstanding fidelity while maintaining broadband pattern control for use in applications ranging from stadiums to small music venues.

Both models incorporate dual 12-inch low-frequency transducers with 3-inch vented voice coils, and coaxial 3.5-inch voice coil midrange and 1.75-inch voice coil high-frequency compression drivers. Nominal beamwidth of the MKD1294 is 90º horizontal x 45º vertical, while that of the MKD1264 is 60º horizontal x 45º vertical. The large-format horn utilized in the MKD1294 and MKD1264 may be rotated for increased versatility in pattern control, providing sound system integrators with a wide variety of installation options.

“The MKD Series takes concepts from our highly successful QX and MK Series, and applies them to new dual-woofer designs,” states TJ Smith, president of EAW. “We’ve developed new transducers that can be driven an octave lower than standard drivers through use of our Beamwidth Matched Crossover technology. Using this approach, we’re able to increase low-frequency output by as much as 6 dB while notably improving beamwidth along the axis of the dual woofers.”

ZHOUSHAN, China – DSpecialists’ distribution partner Guangzhou Ruisheng Audio & Lighting Equipments Co, Ltd. has equipped the new Buddhist center in the city of Zhousan, China with Harvey, an audio and media control matrix and a key component for P.A. and conference systems.

More details from DSpecialists (www.dspecialists.com):

In the new ultra-modern Buddhist center in the Guanyin Dharma Empire, in the scenic Baishan area of Zhujiajian, in the city of Zhoushan, a “spiritual landmark” was created as a home for all believers of Guanyin according to a Buddhist concept.

The architectural style integrates the characteristics of traditional Chinese pavilions and modern high-rise technology as well as contemporary Buddhist art. Leading the trend of contemporary Buddhism, the center offers space for large-scale religious activities, group seminars, high-profile conferences, themed exhibitions and festival performances. It integrates religion, art, study, sightseeing and propaganda and has become an architectural and cultural landmark in the Quan Yin Dharma world.

The building, in which no photos may be taken, extends over 9 floors. In 8 of the 9 floors an own HARVEY has been installed which processes and distributes the audio signals on its floor.

Besides the high quality of the product HARVEY (Made in Germany), an important feature for the customer was the simplicity of programming. Especially the comfortable protocol conversion of HARVEY via the protocol H-Text to the control software of the Chinese end customer was highly appreciated during the installation of the system. Each command sequence of a 3rd part product can be transferred to the HARVEY control via copy/paste, which allows easy communication in both directions.

Another highlight from the customer’s perspective was the high number of control interfaces that can be operated per device.