THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS JULY 2020 | PROSOUNDWEB.

COM

CHANNELING OF UNDERSTANDING THE “DB C MINUS A”

SPL METRIC

ENERGY
INSIDE

SELECTING HEADPHONES FOR LIVE

APPLICATIONS
Productive (and often fun) pursuits A 24-HOUR LIVESTREAM FROM THE ROOF
within current circumstances. OF AN OPERA HOUSE
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 In This Issue JULY 2020 | VOL. 29, NO. 7
FEATURES 18
12 FILLING A BLANK CANVAS A 24-hour livestream from
the roof of the Copenhagen Opera House.
BY SAMANTHA POTTER
18 READY FOR ANYTHING Catching up with monitor
engineer Christina Moon. BY KEVIN YOUNG
22 OLD SCHOOL RULES Talking with Dave Natale about
mixing, systems, life and more. BY JIM YAKABUSKI
31 MAKING IT WORK Checking in with veteran produc-
tion pro Bill Di Paolo. BY MICHAEL LAWRENCE

DEPARTMENTS
6 RESOURCES Services, educational opportunities as
well as some really positive things going on in the pro
audio community at the present time.
BY LIVE SOUND STAFF
8 31
16 FRONT LINES The importance of a true work ethic to
sound engineers. BY EDDIE CAIPO
26 ROUNDTABLE Channeling of Energy: Productive
(and fun) pursuits within current circumstances.
BY LIVE SOUND STAFF
34 BUSINESS MATTERS The value of keeping emotion
out of the decision-making process. BY PETER JANIS
38 WORLD STAGE Adapting to interesting times and
forging ahead. BY LIVE SOUND STAFF

EQUIPMENT
26
8 REALITY CHECK Guidelines for selecting headphones
for live applications. BY ALEŠ ŠTEFANČIČ
36 ANALYZE THIS Understanding the SPL metric “dB C
minus A.” BY MICHAEL LAWRENCE
48 FIRST LOOK Detailing the capabilities of new Adam-
son CS-Series loudspeakers. BY LIVE SOUND STAFF
49 REAL WORLD GEAR Condenser and dynamic micro-
phones to capture live singers. BY LIVE SOUND STAFF
52 LOADING DOCK New mix engines, controllers, soft-
ware, conferencing gear, loudspeakers, amplifiers and
more. BY LIVE SOUND STAFF

IN EVERY ISSUE
Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 7, is published monthly by
EH Media, LLC, 20 Speen Street, Suite 403, Framingham, MA 01701 USA. US/Canada/Mexico
subscriptions are $60 per year. For all other countries subscriptions are $140 per year, airmail.
All subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send
4 FROM THE EDITOR’S DESK all subscription inquiries to: Live Sound International, 20 Speen Street, Suite 403, Framingham,
MA 01701 USA. POSTMASTER: send address changes to Live Sound International, PO Box 989,
Framingham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing offices.
56 NEWS Reproduction of this magazine in whole or part without written permission of the publisher is
prohibited. Live Sound International® is a registered trademark of EH Publishing Inc. All rights
58 BACK PAGE reserved. 2020 EH Media, LLC. Check us out on the web at http://www.prosoundweb.com.

2 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

Sound doesn’t scale.
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More art. Less noise.

From the Editor’s Desk
I’d like to begin with a big thank you JULY 2020 | VOL. 29, NO. 7
to audio engineer Ally Kerslake of DPA Live Sound International
Soundco in Copenhagen (Denmark) 20 Speen Street, Suite 403, Framingham, MA 01701
for reaching out to us about a recent 800.375.8015 | www.livesoundint.com
livestream concert/festival that he and
the production team supported for all PUBLISHER Kevin McPherson, [email protected]
of its 24 hours. (That’s not a misprint.) EDITOR-IN-CHIEF Keith Clark, [email protected]
Oh, and the event was based on the SENIOR CONTRIBUTING EDITOR Craig Leerman
roof of the Copenhagen Opera House [email protected]
– all in a day’s work, huh? TECHNICAL EDITOR Michael Lawrence
My point is that we really appreciate [email protected]
him both letting us know about this unique production and then TECHNICAL CONSULTANT Pat Brown, [email protected]
for working with Samantha Potter so that we can bring you a CONTRIBUTING FEATURES EDITOR Phil Garfinkel
[email protected]
report on it in this issue. I’d also like to encourage anyone work-
PRODUCTION DESIGNER Samuel Clark, [email protected]
ing on events these days – unique or perhaps not so unique – to
CONTRIBUTORS: Samantha Potter | Aleš Štefančič
please reach out to me at the email address below.
Jim Yakabuski | Peter Janis | Eddie Caipo | Kevin Young
Also in this issue, be sure to check out a couple of really inter-
esting interviews. Jim Yakabuski talks with noted front of house
engineer Dave Natale in the kickoff of a new “Pro To Pro” series ProSoundWeb.com
of articles, while Michael Lawrence and his long-time colleague EDITOR-IN-CHIEF Keith Clark, [email protected]
Bill Di Paolo have a discussion about the more “local” side of the PRODUCT SPECIALIST Craig Leerman,
production business. [email protected]
I hope you have as much fun reading the Roundtable as we WEBMASTER Ernie Black, [email protected]
did. We asked the panel about what they’ve been up to in the
current downtime, and their responses do not disappoint. It’s ASSOCIATE PUBLISHER Jeffrey Turner
heartening to see the ways that many pro audio folks are dealing [email protected] | 415.455.8301 | Fax: 801.640.1731
with what’s been a very trying situation, to say the least. ASSOCIATE PUBLISHER ONLINE Mark Shemet
[email protected] | 603.748.4067 | Fax: 603.532.5855
In addition, Kevin Young steps up with his usual aplomb with a
PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
profile of veteran monitor engineer Christina Moon, and speaking
[email protected] | 508.663.1500 x226
of monitor engineers, don’t miss Eddie Caipo’s insightful piece
regarding the importance of a strong work ethic in the world of Circulation and Customer Service inquiries should be made to:
pro audio. Peter Janis also offers some valuable advice regarding Live Sound Customer Service
the merit of keeping emotion out of the decision-making process EH MEDIA, LLC
as much as possible – particularly timely at present. Phone: 978-671-0449
And as always, there’s plenty more. Enjoy the issue. Fax: 978-671-0460
[email protected]
20 Speen Street, Suite 403
Framingham, MA 01701
Keith Clark
EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSES
Editor In Chief, Live Sound International/ProSoundWeb
Circulation & Subscriptions | [email protected]
[email protected] Loading Dock Submissions | [email protected]
World Wide Web Inquiries | [email protected]
Advertising Rate Information | [email protected]

REPRINTS: Wright’s Reprints

[email protected] | 877.652.5295
On The Cover: Umphrey’s McGee
front of house engineer (and LSI/
PSW contributor) Chris Mitchell

ProSoundWeb
with some of the projects he’s
been working on in the present
downtime. Coverage begins on
page 26.
 Resources THE LATEST NEWS FROM PROSOUNDWEB.COM

This section offers information about services, educational oppor-

tunities and more, both in light of the ongoing situation with the
Covid-19 pandemic as well as some (but certainly not all) really
positive things going on in the pro audio community at the present
time. All of these opportunities and further details can be accessed
via the ProSoundWeb home page – prosoundweb.com – as well
as via the specific URLs with many of the items.

Crew Nation, created by Live Nation to provide financial

support of production personnel impacted by the pandemic,
has announced that a new application window will open the
week of July 20 for anyone who was financially impacted by
shows scheduled to take place in June 2020.
Crew Nation is powered by the Music Forward Foundation,
a charitable 501c3 organization that is administering the fund.
Live Nation has committed $10 million to the effort – con-
tributing an initial $5 million to the fund then matching the
next $5 million given by artists, fans and employees dollar for
dollar. Live entertainment touring and venue crew members
who make 50 percent or more of their income from this field
are qualified to apply. Crew members are all the front of house
and backstage staff that help bring concerts to life. To find out
more and to apply for assistance, go to livenationentertain-
ment.com/crewnation.

Audinate has announced the availability of a downloadable The Meyer Sound education team is currently presenting a
trial version of Dante Domain Manager so that AV profession- summer educational webinar program beginning with content
als and IT managers can evaluate the platform. Domain Man- designed to offer a natural progression of subject matter that
ager secures Dante networks by enforcing user authentication includes project case studies and specialty tools across all
and roles to help ensure that only trusted people can make industry verticals. English language webinars are hosted Mon-
changes to the system. It provides organizational tools that day, Wednesday, and Friday and Spanish language webinars on
allow Dante devices to be split into functionally independent Tuesday and Thursday. In addition, special guests will join on
groups (domains) that correspond to rooms, spaces, buildings Fridays for case studies and to discuss their experiences and
and more for easier routing and security. The free 30-day knowledge within the entertainment, production and profes-
trial works with up to 50 Dante-enabled devices (running sional audio industries. Sessions run approximately one hour,
Dante firmware 4.0 or higher) and allows for the creation are free and no registration is required. Upcoming sessions
of up to 10 independent Dante domains. Anyone interested are listed in the Meyer Sound Facebook events calendar and
can begin the trial at audinate.com/products/software/ the Training page of the company website (meyersound.
dante-domain-manager. com/training).

Shure has rolled out a new online Tech Portal designed to be

an interactive technical resource library direct access to product
and technical information, document downloads, and resources
to support the specification, design, deployment and operation
of Shure products across all markets and applications.
Users can find information for all product categories and
product lines, including microphones, wireless systems, in-ear Practical Show Tech is making use of social distancing time
monitors, conferencing systems, DSPs, earphones headphones, by sharing knowledge of live show production through a series
and more. In addition, the portal allows users to create their of free live webcasts that are happening on a daily basis. At
own customized documents and export information directly. It’s this point, more than 50 recorded webinars are available in
available globally and supports English and select international the archive with more being added every weekday. Located at
languages and is designed to be mobile-friendly to support practicalshowtechcom.squarespace.com, it’s founded and
users working in the field. Access the portal at techportal. managed by veteran audio/RF/production professionals Pete
shure.com/en. Erskine, Mac Kerr, Kelly Epperson and Bruce Kraemer.

6 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

The Event Safety Alliance (ESA) has released The Event Safety
Alliance Reopening Guide, a free download addressing health
and sanitary issues that
event and venue profes-
sionals need to consider
in order to protect both
patrons and workers in
light of the pandemic.
The guide is the product
of contributions from
more than 300 profes-
sionals from all facets Music, Pro Audio & AV Industry Relief Resources is a public
of the live event indus- Facebook group dedicated to networking between indus-
try, from the smallest to try professionals whose livelihoods have been impacted by
largest producers and the many businesses that work to support the widespread cancellations of tours, productions, and the
them. (It’s available at eventsafetyalliance.org.) resulting layoffs throughout the professional audio and video
community. From job postings and barter offerings to aid
Solid State Logic has announced that it is providing a range of resources, humanitarian assistance, and helpful tips, the group
educational offerings centered on its SSL Live range of consoles is a place for pooling resources and helping each other. Again,
for applications in touring, installation, houses of worship, it’s easily accessible via Facebook. LSI
theatre and more. The training is a six-hour intensive on-line
video course led by live product specialist and live sound vet- ProSoundWeb provides all of the latest pro audio news,
eran Fernando Guzeman. Find out more and register at solid- and follow PSW on Facebook and Twitter – just go to
statelogic.com/ssllivetraining. prosoundweb.com and click on the icons at the top of the page.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 7

 Reality Check
IN THE CAN(S)
Guidelines for selecting
headphones for live
applications.
by Aleš Štefančič

W
hen packing the tool bag for live sound gigs, the first
item should be quality headphones that allow check-
ing audio signals, provide a reference sound to which
the house system can be calibrated, and to even potentially
mix the show.
A hundred different engineers will choose a hundred differ-
ent models that they prefer; however, all quality headphones
meet the same criteria and tick the same boxes. Particularly
with added downtime at present, you may be rethinking your
current choice and maybe investigating a change. If so, here are
some aspects of headphones to keep in mind.

CUP TYPE allows for complete covering of the outer ears – they should be
Over-ear headphones are divided into three major categories based able to fit into the cushion. The cushion should also provide the
on the design of the cups. The closed type has full cups that provide best seal possible to help with increased isolation.
maximum containment of sound leakage into the environment. For Compare that to smaller cup sizes that sit on top of the ears
that reason they’re commonly used in studios during the recording rather than around them. The irregularly shaped surface of the
process, since there’s concern about the monitoring signal being ear makes it impossible to have a solid seal, greatly reducing their
picked up by sensitive microphones. On the downside, they’re ability to isolate from outside sound, forcing the use of higher
not the most detailed because sound pressure can build up in the levels and therefore increasing the danger of hearing damage,
earpiece and cause sonic anomalies and increased pressure to the not to mention the loss of detail of the monitored signal.
very sensitive human hearing apparatus. There’s also a comfort issue. For the headphones to truly
The semi-open type has small openings in the back of the make a meaningful contribution in live sound work, they have
cup that provides some relief to the buildup, but at the cost of to become reference headphones – a known and reliable sonic
increasing the level of sound emanating from the headphones print that’s a baseline for all sonic decisions made down the line.
into their surroundings. The open type disregards the sound They can only get to that level by using them a lot, listening to
pollution issue and focuses on providing the most detailed reference tracks, mixes, source signals, even test signals like pink
sonic experience for the user. They’re usually used by producers noise. But having a pair of headphones crushing the earlobes for
and engineers in the sound design and mix process for best hours on end becomes extremely uncomfortable, so choosing a
possible results. cup size that’s comfortable and seals well is paramount.
In live sound, however, we’re more concerned with keeping Also on the subject of cushions, make sure they can be easily
sound pollution from entering than escaping. When working in replaced, because they’re most likely to be torn or worn out first
very loud environments, the best way of hearing details is to have and will have to be replaced.
the maximum possible isolation. It’s the only thing that actually
enables us to hear anything clearly without having to run the IMPEDANCE
headphones at levels that can negatively impact our hearing. So, Even if the headphones provide excellent isolation, using them
in this regard, the obvious choice is to go with the closed type. in extremely loud environments will mean that they may often
have to be quite loud. They will also need to achieve adequate
CUP SIZE levels for monitoring even when driven by headphone preamps
Staying on the topic of isolation of ambient sounds from enter- that are built into consoles. Those preamps can be quite basic,
ing the listening environment, the cup size should be such that due to spatial restrictions and frequently aren’t equipped to

8 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 s 12x N
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Pile arre
ls
 REALITY CHECK

offer enough “juice” to run headphones

with high impedance values at levels that
can overcome the ambient noise of a loud
show.
So, the only choice is to use head-
phones with lower impedance, realiz-
ing this usually results in sacrificing a
bit of detail because of that. Aiming at
values up to 50 ohms is usually a safe
region for models that can be used with
just about any mixing board in any live
sound environment.
I’ve worked with engineers that also
deploy a dedicated preamp with high-im-
pedance headphones, but this is a matter
of choice and sometimes comes down
to how much space is available in the
shipping case and what the individual
considers to be the best use of that space.

QUALITY OF CONSTRUCTION
Headphones can live a pretty rough
life. T hey get thrown in bags and
cases, are used on a daily basis in all
weather conditions, have cables that get stepped on and PRICE
pinched, and they get connected to all sorts of gear, often I never discuss exact amounts when it comes to gear pricing,
within just a single gig. So they must to be roadworthy, with because the definition of expensive and inexpensive is extremely
a build quality that can withstand the abuse – at least for a subjective. However, I do want to point out that the price should
while. Here’s what I look at when considering construction: be something that you’re willing to pay given that they’re be used
on the road. This can mean losing them with luggage, having
• How compact are they when folded? This determines how them stolen, exposing them to the elements, scratching them,
much space they take up in the tool bag and whether or someone accidentally sitting on them… the list of potential
not a couple of additional tools can be carried. complications is endless.
• How comfortable is the headband? It will be touching the Anyone constantly stressed about the fate of their headphones
top of the head for the best fit, so it should be padded because they’ve spent a lot of money on them should reconsider
enough not to create discomfort yet not too bulky. their choice. My rule of thumb: if I can pay for them with my
• Overall weight? It’s surprising how sensitive our heads can next two shows, then they’re within my price range. Some folks
be when it comes to weight. A couple of grams can make go for more than that, others less – there’s no right or wrong
a huge difference when needing to wear the headphones answer, only what the individual is comfortable with spending
for an extended period of time. as part of an informed decision.
• What do the joints look like? Are they made of flimsy plastic Many engineers tend to use the same pair of headphones for
or sturdy metal? Do they look like they’ll break if you stare a long time simply because they’re so used to having the same
at them too long or are they solid? reference baseline. But this doesn’t mean we shouldn’t be on
• What connection do they offer? I always go for the com- the lookout for new developments.
bined connector with both 1/4- and 1/8-inch connection. And, when we’re asked by others about our selected brand
I also prefer the connector that gets screwed on rather and model, it helps to tell them why specifically we chose it and
than just pushed on – it ensures a better and longer lasting what personal preference that decision is based on, so that they
operation. can have more options and make better informed choices. LSI
• Cable type? This is more of a personal preference, but my
own preference is a coiled cable rather than a straight one. Aleš Štefančič has served for more than 20 years as a front of house/
It’s less messy and offers more flexibility, but that said, this monitor engineer in addition to being a technical director and mix
aspect isn’t necessarily a deal breaker for me. It can also engineer for the band Siddharta. Based in Slovenia, Europe, he’s also
be beneficial if the cable can be replaced easily since it’s a musician and project studio owner. Go to gainmedialab.com for more
one of the parts that gets broken the most. of his articles and a roster of upcoming online courses.

10 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 NEW
Episodes!

Front of the House Fridays (FOTHF) podcasts on the

ProSoundWeb Network debut every Friday in partnership with
Yamaha Pro Audio.

The series is hosted by veteran live and studio engineer Russ Long,
who records his conversations with noted audio professionals
literally in front of their homes in following current social
distancing guidelines.

UP NEXT:
July 10 | Episode 5 - Joe Keiser (FOH Nickelback)
July 17 | Episode 6 - Garry Brown (FOH Phish & Trey Anastasio)
July 24 | Episode 7 - Dan Heins (FOH Garth Brooks)
July 31 | Episode 8 - Matt Herr (FOH Elton John)
August 7 | Episode 9 - Jonathan Schwarz (FOH special event & award shows)

Listen In At:
prosoundweb.com/podcasts/fothf/
 Spotlight

How it looked at night for “Covidhagen” on the roof of the Copenhagen Opera House.

FILLING IN A BLANK CANVAS

Presenting a 24-hour stage alternates, and an audio trainee. Atop one of Copenha-

livestream from the roof gen’s most iconic sites, an entire production was born. (I don’t
even want to imagine the ordeal of loading in and out on a roof

of the Copenhagen Opera with little access.)

To help keep things efficient, the stage, microphones (includ-

House. by Samantha Potter ing wireless mics and personal monitors), amplifier racks and
monitors/cue wedges lived on the roof, while the control room
was positioned inside the Opera House on the second floor.

W
hile most live events are canceled or indefinitely Direct camera-fed program on video monitors was given to
delayed, it hasn’t stopped some clever folks from each of the mix operators so they could get a feel of what was
bringing the music to the masses. I’d like to introduce happening several floors up on the roof.
you to “Covidhagen,” a recent 24-hour livestream concert/festival
originating from the roof of the Copenhagen Opera House and
presented on the Twitch TV platform.
A rock-star group of professionals from production company
DPA Soundco (based in Coppenhagen) curated the non-stop
musical event to replace Denmark’s beloved festival season.
Audio engineer Ally Kerslake, the project manager for the ambi-
tious event, dealt with more than 50 acts, some with multiple
personnel, in the round-the-clock show on a roof that’s accessed
via a small elevator and an even smaller stairway.
“This was only the second time an event had been staged on
the Opera House roof,” Kerslake notes. “The first was the Red
Bull cliff diving event in 2018, where we also designed and
supplied the audio solution, so having been chosen again, we
knew the kinds of challenges we’d face. Safety was a key concern,
both in terms of Covid-19 and the access issues.”
Teams worked in two 12-hour shifts, with each team consist-
ing of an audio project lead, broadcast mixer, monitor mixer,
two alternates for breaks, an RF/stage A1, a stage/system A2, One of the roof-based production stations.

12 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

FAMILIAR BUT DIFFERENT
As noted, more than 50 acts graced the Covidhagen stage, most
of them musical artists (of course). The team at DPA Soundco
employed 25 Shure Axient handheld wireless transmitters and
20 PSM 1000 personal monitoring packs. Frequency coordina-
tion of all of these systems (plus the media wireless systems)
were handled with an assist from Shure Wireless Workbench.
The hub of “wireless world” was a workstation manned by
the RF techs where this gear (and more) resided. It was also
equipped with a full disinfection set-up, with dedicated wind-
screens for each artist member and all IEMs and transmitters
were thoroughly cleaned/disinfected between uses. (The RF
techs handled this aspect as well.)
The fact that the audience for the event would be at home rather
than on the Opera House roof meant that there was no requirement
for a traditional main PA. Instead, the need for an extremely solid
monitor solution was one of Kerslake’s top priorities.
“The stage was situated on the center roof section of the Opera
House,” he explains. “It was effectively a blank canvas in terms of
planning, because there had never been a concert style production
up there. We knew there wouldn’t be a stage roof because of build-
ing regulations and no chance of a usual monitor mixing position.”
With the consoles for monitoring and broadcasting located below,
inside the main building, with performances watched on a screen,
and the nature of the event demanding five-minute turnovers,
everything took on the air of a festival rather than a TV production.
DPA Soundco positioned six biamped CODA Audio CUE TWO
stage monitors across the front of the stage, with a CODA APS
“booth” system to serve the many DJs who performed. This
consisted of a single APS-SUB and three APS per side. The
team also used a stereo system of CODA SCV and HOPS8 for
broadcast reference monitors as well as a further pair of CUE
TWO as listen wedges for the monitor engineers downstairs.
“The power of both the CUE TWO and APS systems was perfect
to fire through the windy conditions on the roof, and for such fast
change-overs the light weight of the CUE TWOs definitely helped,”
Kerslake says. “It’s the lightest 15-inch, 3-way wedge I’ve come
across, and the crew onstage were certainly glad of that after 24
hours. We didn’t have a single issue of tonality throughout the
whole production and actually had multiple artists asking if we
could provide similar solutions for their future tours.”

HERE TO THERE
Stage inputs were routed directly to a splitter, where they were
sent to two DiGiCo 192 kHz SD-Racks working with DiGiCo
SD10 consoles – one set for broadcast and the other for moni-
tors, both linked via the Optocore fiber network. This network
also handled the IEM and monitor feeds returned back to the
roof and into a DiGiCo Orange Box Optocore interface and then
on to the RF transmitters and wedges.
A safe distance away was a host tent was set with its own wireless
systems working with a DiGiCo SD12 console in the control room. The two images above show live performances at Covidhagen
While acts prepared to go on stage and/or teams switched shifts, and provide a look at the CODA Audio-equipped stage, while be-
show hosts could interview musicians and performers without low we see broadcast mixer Ulrik Rasmussen at a DiGiCo console.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 13

 SPOTLIGHT

A diagram of the audio system configuration for the event.

breaking the broadcast. If something were to go wrong digitally

or at one of the main consoles, analog redundancy from the
SD12 was put in place to allow the hosts to be broadcast as an
The Covidhagen Team
entirely different send into the broadcast unit itself to allow
Audio
time to troubleshoot. In addition to serving the mics for the
Project manager/audio designer: Ally Kerslake
hosts, the SD12 also handled comm matrices.
Broadcast mixers: Ulrik Rasmussen & Mads Nørgaard
For additional effects capability for the broadcast mix,
DPA Soundco built a custom Waves system rack with two Monitor mixers: Kristoffer Hinrichsen & Anders Ludvigsen
SoundGrid Extreme Servers running on Waves’ new Super- Mixer/systems: Markus Bock, Rasmus Tinndahn & Emil Meier
Rack. an additional recording rack handled all the recording RF/stage A1: Michael Madsen & Patrick Reib
and multitracking of the performances with Tracks Live. Stage/systems Micheal Krogh & Lieven Eeckout
For those who haven’t done broadcast mixing, the per- Stage A2: Patrick Douglas & Malte Andersen
ceived loudness of the feed is key. With the assistance of
a Waves WLM Plus Loudness Meter, the broadcast team Lights
Project leader: Jannick Schleicher
LD/operator: Niclas Wassermann
Operations/logistics leader: Benjamin Jensen
Systems/mixers: Hugin Hendriksen, Max Lohse & Oliver Klug
Systems techs: Tobias Klint, Mads Toxen, Mads Binzer, Peter
Andersen, Christian Møller & Mathias Wol

AV/OB
OB project leader: Teis Karstens
Producer/vision mixer: Christian SkovenGaard & Marc Bostrøm
Projector/system tech: Mikkel Martins
Camera operator: Christian Wahlberg

Clients
Founder/executive producer of Covidhagen: Jonas Wittendorff
Lighting also played a big role in the production; here we see Production coordinator: Rasmus Holck
Niclas Wassermann at a lighting console.

14 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

was able to ensure consistency across different performances.
Once the broadcast mix was, well, mixed, it traveled via both
AES and MADI to the broadcast truck. If you’re keeping track,
that’s three broadcast feeds, which means plenty of redundancy
that’s vital with live broadcasting (particularly a 24-hour event).

AN UNSUNG HERO
3D printing is a relatively new technology but offers a lot of possibil-
ities, particularly for smaller-scale solutions and just experimenting
in general. DPA Soundco deployed two 3D printers on the event
that worked around the clock. (Why purchase something when
you can make it in AutoCAD or Solidworks and print it in plastic?)
The production company printed two particular pieces that
were key to this event: handheld mic “parkers” and radio charging Wireless mic transmitters carefully staged and ready to go.
stations. Wireless mics are round and they like to roll around, with
the parkers being a brilliantly creative yet elegantly simple way to industry. But there’s hope on the horizon and events are hap-
keep the freshly-sanitized mics from rolling around. When you’re pening. It’s going to look different for at least a while, but we’re
charged with cleaning and babysitting this many “expensive rolling hanging on. It’s very likely that many events in our present time
germ sticks,” you really want to keep things safe and secure. will look like a lot like Covidhagen. LSI
Meanwhile, the production team and security utilized more
than 80 radios (whew!). The 3D-printed charging station ensured Samantha Potter is senior contributing editor and worship tech
a constant flow of safe, charged radios ready to go at any time. liaison for Church Sound and ProSoundWeb, and she’s also co-director
Modern problems require modern solutions. of Church Sound University. In addition, she serves as an IT media
This is not an easy time to be working in the live event supervisor and system design consultant in the house of worship sector.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 15

 Front Lines

BUILDING IT RIGHT
The importance However, I’m talking more about how
much effort, time, dedication and/or pas-
1. Don’t be “that person.” A funny
(as in, not so funny) situation came up
of a true work sion one puts into the work. Many engi- when I was working for a very successful

ethic to sound
neers may have far more skill, knowledge 1980s cover band (made up of very pro-
and ability than you and me, but in my fessional and skilled musicians) from the

engineers.
opinion these essential factors are what Bay Area prior to a show at a renowned
make the difference between succeeding Southern California venue that also has
in this business or not. It’s also import- locations throughout the U.S. The show
by Eddie Caipo ant to note that I don’t measure success was sold-out days prior, more than 1,000
by working with huge artists. Success tickets.

W
ork ethic – why is it import- can be you working at a club, making a On the appointed day, we (the tech
ant? For me, it’s been instru- decent living and loving what you do, and team) arrived with our gear to meet the
mental in building my career not treating your gig at that venue in a venue’s house engineer and get started,
and reaching the level of experience and mediocre way or any less than mixing a and he wouldn’t let us in the building
success required to be able to work with renowned artist. because we were 10 minutes early. He
high-caliber artists. I used to work in clubs and for cover locked the door and told us to wait, and
Having a strong work ethic isn’t just bands and treated every one of these acts then was more than 5 minutes late in
about being good at your job, it entails with the respect they deserved no matter letting us in while we waited on the curb.
many things. For example, always being what. It was as if I was mixing the Rolling He then refused to let us choose our
on time (or early) for jobs, never changing Stones or Prince (wishful thinking…), mics, saying “It’s a cover band – what-
commitments or extracting yourself from and along the way, was also exposed to ever I give you will suffice.” This attitude
a previously committed gig just because many different kinds of music that I feel blew our minds, it was just so incredibly
you’re offered a few extra dollars, and so prepared me for everything I do now. ignorant. A short while later I noticed
on. Still, this is just a part of it – albeit a Based on these experiences, what follows that he wasn’t following our input list at
very important part. are what I’ve found to be keys. all and asked him about it. His responses

16 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

were along the lines of, “Why do you even
want to mic the bottom snare? This is just
a cover band. And by the way, the same
goes with overheads. Just use one mic.”
At this point I decided to speak with
the house production manager, (who
was super nice, the total opposite), and
he straightened out the engineer with a
phone call… for a few minutes. Moving
along to setting up at front of house,
he returned to questioning everything
I requested, even simple things such as
patching the comps and gates (analog con-
sole). It was very clear that he thought we
were beneath him – only because that day
we were in his house with a cover band.
Suddenly, it all changed once he heard
sound check, where he was quickly
impressed with the sound in the house.
As if a switch had been flipped, he started
being complimentary and asking how I
was doing things, and so on. Even though
it all ended well, I found his outlook to Even if we don’t happen to like the share what we know. We’re all unique on
be an awful way of being. If someone music, we still must honor the true doing things, and there’s plenty of room
doesn’t like the job and is miserable, by essence of it and try to portrait it for the for all of us.
all means leave and open the path for audience or musicians (if mixing moni- 4. Jumping around comes around.
another person who is eager to do great tors) to the best of our ability. If we don’t I mentioned this earlier but it’s really
things and embraces the opportunity that learn the material, it’s noticeable and will important to keep in mind: once we’re
this career provide. be clearly reflected in the end result. Sim- committed to an act, it should stay that
No matter the gig – big or small – we ply put: Care. Don’t dismiss something way. Think twice (and then again) before
must give it our all. If it’s a club where you because it’s not your cup of tea. jumping ship. I’d much rather work for
only mic the kick and vocals. Well, then 3. Spread the love. Most of what I’ve an artist for a long time for a bit less
work with the band to balance the guitar learned about sound over the years has money than to work for an artist for a
and bass amp levels to match what you been by asking, with other engineers lot of money for a day or a week. We must
are doing, and make it be the best mix kind and gracious enough to share their honor our commitments and only then
with the 2 or 3 mics you have ever done. techniques. There are always a few who begin a new one. This is a small commu-
It deserves no less respect than if you were won’t because they feel threatened, but nity, word spreads fast, and it’s vital to
mixing any major artist on the planet. we need to just move on and not let it avoid being marked as unreliable.
2. Do the homework. As the years ruin our day. 5. Know your value but don’t abuse
have gone by and I’ve been blessed with I’ve certainly never minded sharing it. As our career grows and we build a
a wonderful career, one thing remains the knowledge that I’ve accumulated strong reputation with a variety of cli-
the same: regardless of how many years through the years as well as the knowl- ents, there will be moments where it will
of experience with a variety of artists and edge passed on to me by colleagues and be tempting to depart. Some clients may
music: do the homework to be absolutely the many things I’ve learned by reading offer more pay to keep us aboard, but par-
prepared and professional. This is espe- sound engineering books and magazines. ticularly if we’re already being paid fairly,
cially true when landing a new gig, and One of the most amazing aspects of there’s no need to “extort” money from
it’s never been easier. this beautiful profession is that there clients. If we make the right decisions for
We have access to performances on are many ways to apply what we know the right reasons, we’ll always land on our
YouTube and many other outlets such as to achieve our goals. Never stop learning. feet no matter what. In return, current and
streaming music services. There’s no excuse I learn every day from other colleagues future clients will respect us for it. LSI
not to listen, learn the music, make notes at all levels of their career – even from
of sounds, arrangements, effects, space those who are early in their careers. You Eddie “El Brujo” Caipo is a veteran tour-
and other specifics that characterize a par- just never know, and I’ve been pleasantly ing engineer who works with numerous top-
ticular artist. surprised many times. It’s also vital to flight artists.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 17

 In Profile
READY FOR ANYTHING
Catching up
with monitor
engineer
Christina Moon.
by Kevin Young

I
n early March, Christina Moon’s
work schedule cleared com-
pletely owing to the pandemic.
“I’d just gotten home from a European
run with Sleater-Kinney and was sched-
uled to leave March 13th for dates with
Mandy Moore. I actually remember
wishing I had a bit more time at home.
I guess the lesson is, be careful what
you wish for.”
The Seattle-based audio engineer notes
that she’s dealing with the impact, profes-
sionally and personally, by adding to her
knowledge of audio and staying virtually
connected and engaged with her various Christina Moon at an Avid desk for LCD Soundsystem at Bonnaroo in 2018.
“tour families.” Although it’s not the same
as being in the same room, it’s still fes- o’clock martini right now, but that’s not DEVELOPING THE SKILLS
tive: “I actually talk to people more now going to happen,” Moon says. “It’s crazy Although Moon has spent a significant
than I ever would. There’s always some what you take for granted, but right now time at front of house over her two
touring group getting together.” And I just want to get back to work.” decades in the business, she’s come to be
while the party is virtual, the hangovers The CARE act, MusiCares and other known as a go-to monitor engineer with
aren’t. “The Zoom happy hours are killing avenues of support are helpful, she notes, abiding patience, unswerving focus, and
me,” she adds, laughing. adding “But I try not to think too far into the ability to troubleshoot while keep-
Being at home for an extended period the future because it would just be over- ing her artists comfortable so they can
of time is a rarity for Moon, who typi- whelming. And now it’s looking like tours perform at their best. Those are skills
cally spends anywhere from eight to 11 may not start up until next year, which she developed early on while working
months a year on the road. “I had been is really hard to wrap my head around.” the 1990s Seattle club scene, and they’re
trying to keep it a little less than that; If there is a positive side to this, it’s skills she’s added to substantially since
just to make my life not all about the seeing the audio and musical community on extensive tours with artists including
road, but I love touring and travelling, come together to support each other. “At the Yeah Yeah Yeahs, Death Cab for Cutie,
and I worked so hard to get where I’m first there was a lot of commiserating LCD Soundsystem, and others.
at.” about the situation. And that was needed, As for what prompted the switch to
Regardless of how the pandemic plays in the beginning, that emotional support, monitors: “It was the jobs I was offered,
out, it prompted many people to re-as- but now it seems like it’s turning towards but I was happy doing monitors the
sess the importance of things that never educating ourselves because we have the first time I toured (with the Yeah Yeah
seemed all that integral previously – like time. I’m trying to get more comfortable Yeahs). They were always so sweet when
the daily face-to-face interactions many with consoles I’m not as familiar with so they were trying to get comfortable with
take for granted, the little indulgences that I can be ready to say yes to anything the sound on stage, but there were times
and going places. “I would kill for a 5 when this is over.” when they’d say, ‘It’s fine,’ and, from their

18 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

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 IN PROFILE

body language, it certainly didn’t look

fine. When I got what they wanted, just
watching everything change was amazing.
I really enjoy being part of that process
of figuring it out how to make it better
for the artist.”
Generally speaking, in doing so, Moon
keeps things simple. “I don’t use a lot of
plugins. When you have all of this ‘gear’
at your fingertips it’s tempting to use it
all, but I think people need to hear what
they actually sound like. You’re actually
doing a service for the FOH person if
you can get musicians to correct (sonic)
problems on stage.”
In cases where she’s parachuted into
a gig where there have been previous
issues with the monitor mix, Moon
often finds a solution by simplifying
the mix. “I’ll see so many plugins turned
on, compressing and altering everything,
gating all the drums. Sometimes I’m
asked, ‘What did you do? That sounds
so good.’ And I answer, well, it’s what With a big wedge at Austin City Limits a few years ago.
you sound like.”
Music has always been a passion, she “It’s easy to get overwhelmed if some- she approached Mudhoney’s sound engi-
says, particularly heavy rock. “One Christ- one’s unhappy with the sound on stage,” neer at a show at Seattle’s Summer Nights
mas my dad got me a boom box, took me she continues, but even when it’s not at the Pier and asked: “What do I have to
to Tower Records, and said ‘Pick out any clear exactly what an artist wants: “You do to be you?”
tape you want.” I happened to pick up need to be able to take a breath, think She explains, “It was an out-of-the-
Def Leppard’s High ‘n’ Dry. That genre about what’s being asking of you and how blue moment. I was about 24. I’d been
of music just spoke to me. And when to achieve that.” studying environmental science at a col-
the Seattle scene started, I had access That’s enabled her to deal effectively lege in Olympia, but felt it was time to
to local shows and bands like Bikini Kill, with potential catastrophes, remain calm decide what I really wanted to do and go
The Melvins, and Mudhoney, which had and inspire confidence in her artists. for whatever that was. Watching Mud-
a huge impact.” The latter, she continues, was part of honey’s engineer I was thinking, maybe
Some of her long-time clients, Death the attraction of mixing the stage: “The that’s what I should do.”
Cab for Cutie and LCD Soundsystem for first time I noticed someone playing dif- Taking his subsequent advice to heart,
example, are artists whose knowledge of ferently – having a great show because Moon began studying music technology
audio is expansive. Early on, however, I understood what they were trying to at Shoreline Community College, which
like Moon, the bands she worked with convey to me – I realized the impact I boosted her confidence and allowed her to
in the clubs were just starting out. Those could have on someone’s experience on study piano, music theory, and all aspects
experiences had a lasting impact on her stage. of music production while interning at
approach to audio going forward, and “It’s about figuring people out,” she local studios and clubs like the Central
she’s grateful for them. “There’s some- adds, and, in some cases, determining Saloon. When that venue’s regular house
thing (valuable) about being thrown in their needs by simply by observation engineer was let go (allegedly for making
the fire like that. You’re the only engi- and elimination; even when she hasn’t a musician cry) the booking agent offered
neer. You’re on your own and you’ve got worked with a given artist previously. “By her the gig. For roughly five years, she
three or four bands every night to deal body language alone, you can see if you’re served as Central’s head engineer, while
with and you’re typically mixing monitors moving in the right direction.” doing regional tours with various bands
from front of house so it can be a very and working at local production company
stressful space to be in,” Moon says, “but ASKING THE RIGHT QUESTION Carlson Audio, expanding her skills as a
you develop the skills to triage everything The direction Moon was to take profes- technician and mixing corporate events
and see the big picture. sionally was determined in 1998 when and casino shows.

20 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 As prepared as she was, there
were sometimes unpleasant
surprises on early tours. As an
example, she cites one club on
a European tour with the Yeah
Yeah Yeahs. “I was ringing out
the side fills and there’s this
scratching, electronic sound
and I’m like, ‘What is that?’ And
they said: ‘Rats.’ They actually
had rats living in the speakers.
That’s one of my favorites, but
I’m really thankful for those
experiences.”
The social side of mixing the
stage is a huge part of the job,
Moon explains, adding that it’s
hard not to take it personally
when an artist is upset with
their sound on stage, so a thick
skin and excellent lines of com-
munications, such as Moon has
developed with artists she’s
worked with regularly, are key.
“I’m the closest person to them
in their most vulnerable state. Moon in her world at House of Blues Austin, in support of Sleater-Kinney and Tobin Luka.
It’s a different kind of relation-
ship than parachuting into a gig. It’s Prior to the band’s 2018 tour they ing, but I feel that with good musicians,
almost like you become a part of the rehearsed with Moon for three months microphones that are right for the job,
band.” to determine how best to translate the and a nice sounding preamp you really
Death Cab for Cutie actually consid- record to live performance. “Everything’s can’t go wrong.”
ered cancelling tour dates when Moon played live and there’s a ton of modular For in-ear monitors, Ultimate Ears
came down with Chickenpox during a synths and moody equipment, so it can are the choice, and with bands that pre-
run through Asia. “They didn’t want the be an explosive stage,” she says. “Consis- fer wedges, d&b audiotechnik M2s or, as
shows to be uncomfortable. Obviously, tency is everything. That’s what the artist is the case of Murphy, a mix of M2s and
that’s something built over many tour wants, but sometimes the gear can be a M4s. Roughly half the artists Moon works
cycles. I sometimes know what they want part of why it’s not consistent, so working with use wedges rather than IEMs. “And if
before they do. I can see the look on their with backline techs, making sure that they’re happy there’s no reason to move to
faces and realize something is needed, so we’re getting the same sounds and levels in ears, but there is a huge push to do so;
they definitely feel safer.” every day, is a huge part of it.” from other artists, from engineers or man-
With LCD Soundsystem, monitor agers – they really want everyone on IEMs.”
PLYING THE CRAFT world is literally part of the show: Although the main selling point for
Moon’s reputation for composure in “They roll my whole riser – with all my IEMs is consistency, Moon cautions:
challenging situations ultimately helped amps and console – out on stage. That’s “There’s still a room involved. When I
grow her roster of touring artists who, in a switch from situations where you’re switched from wedges to mixing in ears,
turn, have become family, such as LCD trying to hide, or worse, where you have it was a big adjustment because there’s
Soundsystem, who she’s been working to fight for a place where you can see no hiding what’s being played – or my
with since 2010 and who have a unique the band and they see you. To work for mistakes for that matter. But I don’t have
approach to collaboration on and off stage. someone who treats you like part of the a preference. Whatever keeps the artist
It’s a collaboration that begins in the stu- band is great, and the energy that goes happy is what I prefer.” LSI
dio, even before their records are finished, along with it is amazing, but (being on
with listening and consulting on the live stage) is strange.” Based in Toronto, Kevin Young is a free-
approach with singer James Murphy – an A longtime Avid user, Moon’s current lance music and tech writer, professional
engineer and DJ in his own right. go-to console is an S6L. “It sounds amaz- musician and composer.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 21

 Pro To Pro
OLD SCHOOL RULES
Talking with
Dave Natale
about mixing,
systems, life
and more.
by Jim Yakabuski

I
n the midst of a Coronavirus
quarantine, I decided to begin
a ser ies of inter views with
some of the live audio industry’s most
recognizable, inf luential and often
notorious sound engineers. I put a
short list together very quickly of some
well-known mixers that I admire and
respect, and who have influenced many
others throughout the years with their
approach, techniques and willingness to
share their knowledge.
Some of the names on my short list
are people I’ve worked with or become

PHOTO CREDIT: STEVE JENNINGS

friends with over the years. Others I have
yet to meet in person, although I’ve really
wanted to.
My first interview is with Dave Natale
(who happened to be the first name
that popped to mind when I was asked
about doing this). Dave is a long-time,
legendary front of house mixer, most Dave Natale at his favored Yamaha PM4000 analog console.
recently pushing faders for The Rolling
Stones. Dave spent many years mixing We spent those weeks talking audio, con- JY: Nice! You beat me to it by about
Tina Turner and many other great artists. soles, plugins and life, even finding time six years. What inspired you to want to
When I first heard his name in 1991, he to watch a YouTube video or two about be an audio engineer?
had just finished up some time at the steel machining. Who knew? Here’s a DN: I was playing drums for a band and
helm for Van Halen, and he’s also mixed glimpse of some of the dialog we shared they wanted to play material that I was not
Joe Cocker, Lionel Ritchie, Stevie Nicks, then and recently: really into, so I found them a drummer
Yes and many others. and told them that I would do the sound.
We spent almost a month together Jim Yakabuski: Dave, it’s an honor JY: Another “musician gone to the
this past February prepping for the to have you involved with this. I’ll start audio side” story. There are lots of those
Super Bowl halftime show. Dave mixed by asking: When did you start working in our industry for sure. Would you con-
the stadium FOH audio for the perfor- in audio? sider yourself more of a “music-based”
mance by Jennifer Lopez and Shakira. I Dave Natale: I’m not sure of the mixer or a “technically-based” engineer?
was there to assist him with rehearsals exact date but if I had to guess I would If both, how would you say you combine
but also ended up making a new friend. say about 1975. both sides when mixing a band?

22 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 PRO TO PRO

DN: I would have to say that I’m a don’t use any gates, limiters or effects, so DN: Nowadays with the PA systems
music-based mixer; however, if I have to that only leaves the console. So, I guess being the way that they are, you’re pretty
get technical I can, but prefer not to be. that it would be the PM4000. much at the mercy of the person that sets
JY: This next question is a big, fat, JY: This next question should just be it up and tunes it. I know a lot of mixers
slow-pitched softball coming your way. struck from the record, but I have to ask: that can do it all themselves – I’m not
It’s pretty much rhetorical as many of Plugins, no plugins, or just a few plugins? one of those people. When I’m mixing a
us may already know the answer, but I’ll DN: I use plugins -- I plug all of the band and it is our tour, I have the system
ask it anyway and get your take: Do you microphones into the back of the console engineer set the system up and then I
prefer analog or digital mixing consoles? every day. So I guess the answer is that I ruin that person’s fine work with a pair
If your answer is “analog,” what reasons use one “plug in” per channel. of third-octave EQs.
drive you to continue using analog in JY: Keeping with the theme of old ver- JY: Alright, let’s dig in a bit deeper.
today’s audio world and why not just sus new: What’s better about today’s PA/ We spoke a lot about this in Miami and
switch to digital? loudspeaker systems? shared several common opinions. I’m
DN: Analog – definitely. For me, analog DN: With modern line arrays the band going to ask you to step out of your
is far more reliable than digital. I have is free to perform wherever they want. comfort zone a bit with this one: What
to use digital consoles when I mix TV Almost all bands have a runway and/or “trends” are you seeing in music and
shows or special events that have multi- a “B” stage, and with a line array I have audio that you would like to see go
ple bands, and I see digital consoles seize no problem with feedback when they are away? 
up for any number of reasons way more in front of the PA while keeping it “sta- DN: I like to say in the old days we
frequently than my analog consoles ever dium loud.” used to do concerts – now we do shows.
have. If an analog console gives you a With The Stones, Mick Jagger will A concert is a musical event, a show is a
problem, nine times out of 10 it’s the stand as far as 120 feet in front of the PA spectacle and there’s also some music that
power supply. I always carry a spare or during the show and at certain times the accompanies it. The emphasis these days
three so I just change that out. four principals are all playing out there, is on the staging, set, lighting, video and
If there’s a problem with one input as well. On the first tour I did with them choreography.
or output channel I just pull it out and – A Bigger Bang – the PA actually hung In my humble opinion the entire rea-
replace it with a spare. No problem. I’ve 25 feet upstage of the entire band when son that an act is on the road is because
used a Yamaha PM4000 for every tour they were on the main stage! the public “hears” their music and wants
that I’ve mixed since at least 1996 and The newer systems weigh less than the to hear them perform live. More often
can’t remember the last time that I had older systems and there are less cabinets than not, the position of the PA is deter-
a problem with either an input of output to deal with. Further to that point I still mined by the real estate that another
channel or module, and I can say for sure use Clair I5 cabinets because they uti- department wants or “needs” as opposed
that I’ve never had a power supply issue lize 18-inch speakers for the low end I to placing the PA system in it’s optimum
once in that entire time. don’t find a need to use subs. That saves position.
JY: We chatted a lot about life and a bunch of extra cabinets, amps and truck Pro Tools should be limited to record-
the industry while we spent a few weeks space as well. ing the performance only. In my opinion
in Miami for the Super Bowl. From one JY: Let’s keep the questions fair and there’s way too much reliance on tracks
older audio person to another: What’s balanced: What did you like better about being played back during shows. More
the toughest thing about continuing as the older sound systems? times than not it’s being used as a crutch.
a touring audio engineer these days (and DN: The sheer number of drivers. I I would just like to point out at this time
at a more advanced age)? used to use 144 Clair Brothers S-4 cabi- that I’ve never had the displeasure to mix
DN: For me, I simply like being at my nets for outdoor gigs. Each one had two a band that uses Pro Tools. All of the art-
house with my wife. I’ve spent so many 18-inch speakers so that was 288 18-inch ists that I’ve had the good fortune to mix
days/weeks/months on the road over speakers. When the drummer hit the kick are “old school bands” that actually sang
the past 40 years that I am, for lack of a drum you felt it! and played all of the content.
better term, over-traveled. JY: The modern FOH setup has a lot I have, however, mixed two or three
JY: A lot has changed since you started of computers performing an array of bands that have a few “effects” tracks
in 1975. It was analog consoles for all of tasks ranging from loudspeaker system playing or the one odd song where there
us, and racks of processing gear instead management to frequency analysis and are horns or keys, for example. That’s
of plugins. What would you say is your multitrack recording and playback. Do acceptable. This, to me, is a legitimate
favorite piece of audio gear that you’ve you like to personally use measurement reason to run tracks. I wouldn’t expect
used in your career? tools and software, or do you prefer the an artist to go to the expense of hiring
DN: I don’t use any outboard gear, if system engineer to get the system “ready a horn section or a keyboard player for
possible. For example, with The Stones I for line check”? maybe one song a night.

24 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 JY: Dave, this has been really fun. Following our conversation, I received as any band is concerned it all starts with
I’d love to close by asking you to this postscript from Dave: a song that has a sound and its popularity
share a personal favorite story about I just want to say here for the record that that ultimately caused a band to be on tour.
audio and/or your career in the music these are all solely my opinions and I will be Not anything else.
business. the first to admit that I’m a single-minded, People that hire me hopefully do so
DN: Once I was doing rehearsals for a block-headed, hair-triggered, bad-tempered, because they want good sound. I tr y
band and I was in a separate room mixing foul-mouthed, politically-incorrect and high- my damnedest to deliver that with sin-
through monitors and recording it. The ly-intolerant jackass. Yes, that’s right – a gle-minded determination at every show
band’s manager came in and gave me a jackass! Anyone that has spent any amount that I mix. LSI
tape to play. of time with me knows that. This is not a
When the band finished they came into fashion show or a popularity contest. Jim Yakabuski has spent more than 35
the control room. I played the tape that I don’t jump on bandwagons nor do I pay years as a live sound engineer, working with
the manager had given me and one of the any attention nor care about current audio artists such as Van Halen, Journey, Avril
band members stood up and said, “Stop “trends.” I defend the audio position of my Lavigne, Peter
the tape. Dave, what we have here is a clients vehemently, and just get the job done Frampton, and
very bad-sounding mix of rehearsals.” to the best of my ability, daily circumstances many others.
As hard as it was, I waited and then of the gig notwithstanding. He’s also the
replied, “Wow, I’m really sorry to hear I’m an old school audio guy and as such I author of
that you feel that way, but that was not am not really interested in lighting, video, “Professional
my tape of rehearsals, it was the mix set, designs, choreography or any other pro- Sound Rein-
of the new album that your manager duction “elements” because when I started forcement
just handed me and asked me to play.” in this business, there was none. There was Techniques,” which provides a collection of
JY: Legends always have the best sto- backline, sound and lights. To me the only tips and techniques for mix engineers. It’s
ries! Thanks so much Dave. thing that exists is the sound because as far available via Amazon.

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LSI_DigitalEdition_QuarterPage.indd 1 2/26/19 11:45 AM
 Roundtable
CHANNELING OF ENERGY
Productive (and fun)
pursuits within current
circumstances.
by Live Sound Staff
What have you been doing to stay busy and productive during this
downtime?

Becky Pell: I consider myself lucky to have a couple of other

major avenues of interest beyond mixing monitors, in yoga and
writing. I’m a trained Yoga therapist, so I’ve been embracing the
new online lifestyle to see clients on Zoom, as well as finishing
a book about yoga that I started writing a couple of years ago.
I’ve also taken the opportunity to get much fitter and of
course, use all the great online trainings to brush up on my
audio tech knowledge ready for when we get back on the road.
Even so, I’ve certainly had my dark days and really miss touring
and being with my tribe, but allowing myself to feel that and
then declining to be distracted by things outside of my control
has mostly kept me busy, focused and positive.

Andy Coules: I’ve taken advantage of this period to learn new Chris Mitchell with some of the handiwork he details later in the
techniques and explore alternative methods for getting the high article.
standard of results demanded by the band I work with on a regular
basis. There’s an ample supply of webinars and videos available also participated in quite a few talks and interviews in the
online, with more being added all the time, partly due to the audio community, added new content to my online courses
increased demand but also because the content creators have a and developed a new one on in-ear monitor mixing, which is
lot more time on their hands too. Particular highlights include set to launch in August.
the Harman learning sessions (in which I also participated), the Besides upgrading my knowledge, I also took the time to give my
Sennheiser live sound roundtables as well as a series of videos by body and mind a lot of rest, catch up on some projects that were
sound engineering luminaries such as Ken “Pooch” Van Druten on the back burner for a while, and made sure I’m still connecting
and Dave Rat (all of which can be found on YouTube). and networking with colleagues in the business. Even when we’re
The obvious consequence of all this learning is lots of mixing not working (or more so because of that), it’s always great to talk
practice using live multi-tracks running through DAW software. shop with other people who are passionate about the same things
It’s helped me realize that the schedule demands of a regular live you are – it can be calming and create a sense of bonding, which I
show coupled with the need to deliver consistently good results have seen plenty of in our community (to my great delight).
every night mean that I don’t always get the opportunity to exper-
iment with new mix ideas, alternative techniques or spend time Chris Grimshaw: There are a few things I’ve been doing to
really exploring the intricacies of all the available plug-ins. Tools stay productive. Firstly, I fired up all the different PA systems I
such as multi-band compressors, dynamic EQ and all pass filters operate and spent a couple of days with the measurement mic,
can be incredibly powerful yet subtle, as long as you know how to making graphs and coming up with the best possible processing
use them correctly (so now is the time to get to grips with them). for the loudspeakers I have. Getting that last bit of performance
out of the systems was something that I had intended to do for
Aleš Štefančič: Having a reduction of live gigs gave me the a while but hadn’t quite gotten around to.
opportunity to expand my knowledge on audio, especially Next up, I’ve been buying, fixing and selling microphones.
on some of the specific tools I’ve been using in my work. I’ve I’ve put together a nice little workshop with a good stereo and

26 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

am enjoying taking the time to do the job well. The latest is an
Audio-Technica AT4033, which had the capsule literally bouncing
around inside the grille.
Apart from that, I’ve been doing things like firmware updates
and exploring every corner of any equipment-related software
to make sure I really am using the full capabilities of what I
have. I’ve also been working on loudspeaker designs for the
future – my stage monitor system is due for overhaul, so I’m
planning on doing the woodwork now (wood is relatively cheap,
but takes time to make into decent cabinets), and buying up
loudspeaker components as the industry recovers. I’m aware
of the hypocrisy of saying I’m trying to make the most of what
I have, but they really do need upgrading.
Here’s hoping things pick up soon, and for the right reasons.

Michelle Sabolchick Pettinato: As someone who has a very

hard time doing nothing, I’ve used this downtime to create and
release my online course LISTEN!, which is all about EQ and
ear training. It’s also given me the opportunity to take a few
online courses myself, including finally having the time to learn
Smaart during Rational Acoustics online training webinars.
Honestly, I almost feel busier since being home than I do Michelle’s homemade Catico.
on the road. I’ve done several podcasts, webinars, and guest
Zooms for a couple schools and have more to come over the way busier than I could ever imagine for a guy with no gig. Oh
next months. Somewhere during all of that I’ve also managed yeah…and there’s the regular Tuesday evening Zoom Happy
to build a giant Catico in the backyard for my eight cats. (LOL!) Hour with the Frampton crew, and lots of house projects and
yard work, so no rest for the wicked. The music business needs
Jim Yakabuski: I’ve actually been quite busy since March 12, to crank back up and get us back on tour so I can get some rest.
when my touring season had the bottom drop out. Between
webinars, YouTube videos, podcasts and online education, I Carl Stewart: Here in Orlando, there’s a definite summer off
manage to fill most days with productive projects and learning season for corporate events, which is my primary focus. So
something new. normally, I do a lot of handyman work during the summer and
As luck would have it, I attended an Allen & Heath d-Live between gigs during the season. That’s keeping me very busy
training session in Charlotte right before the quarantine started, during all this craziness, so I’m very fortunate to have it to fall
and the fine folks at A&H and HWPco (a rep firm) arranged for back on, but I’m jonesing to get back behind a mixing board.
me to spend some time with the d-Live C1500 console package.
It’s a fantastic platform and I’ve been having a great time build- Ken “Pooch” Van Druten: Over the last 12 weeks, I’ve been
ing mix sessions with all the multi-track recordings I’ve got. busy indeed! I’ve teamed up with monitor engineer Kevin “Tater”
With absolutely no pressure or time constraints, I’ve been able McCarthy to host a webinar series called Wrong End Of The
to play around with lots of plugins and mixing strategies (like Snake that explores the relationship between FOH and monitors.
parallel bus compression) that I don’t often use out in the real I’ve also been posting a series of videos to my YouTube channel
world. It’s a great way to enjoy stress-free lab experiments and of my conversations with FOH engineer Chris Rabold in which
find new and innovative ways to improve things in headphones we discuss all sorts of aspects of the art, tech, and business of
and near-field monitors to try out later in a big PA system. mixing. I wrote a blog post for Waves about “What Live Sound
I also dove into the world of creating YouTube videos featur- Engineers Can Do At Home,” and also made a video for them
ing some audio tips and tricks and some cool Matchbox 20 and demonstrating my setup for Iron Maiden live. I was on the
Peter Frampton multi-track music. My son taught me how to MixMasters podcast, Gary Ford’s podcast, Eggs! The Podcast,
use Adobe Premier Pro and all of a sudden I was a hack video and an Adamson webinar as well!
editor. (Not my strong suit, I assure you.) I’ve been a part of
a Signal To Noise podcast and a couple of Practical Show Tech Karrie Keyes: Well, it took a bit to come out of “I’m leaving
webinars, as well as a live Q&A on HWPco’s Tech Talk. Very fun on tour mode” – we postponed 24 hours before I was supposed
conversations, for sure. to get on a plane. I was in a void for a few weeks, and then
I also received my Level 1 Smaart Operator certification and SoundGirls, the non-profit that I’m the executive director of,
continue to write for LSI and Church Sound magazines, so I’m went into “What can we do, what should we be providing?”

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 ROUNDTABLE

mode – “Oh, this is the time we should do all those things we LinkedIn and started a discussion. The webinar project quickly
should do during the slow season.” became a full-time job – I was reprimanded more than once to
We took it slow as webinars and training started to explode, turn off my phone at the dinner table. I can imagine this is how
which was exciting at first but we soon found that this added more a radio or TV show producer feels booking guests day after day.
trauma to our members as they started to feel that they were We’ve now completed more than 70 episodes on topics that
not being productive enough. In addition, we started a fund to include programming comms products, RF coordination, basics
provide small grants to people out of work and provided informa- of computer networking, immersive audio, using Vectorworks,
tion to navigate through unemployment as well as mental health working on site with the challenges of COVID, and more. One
resources. Now we’re working on in-depth webinars on a wide week it feels like we’re running training programs and the next
range of audio topics. You can check them out on our YouTube week a virtual trade show, all with the perspective of the end
Channel and two of our members (Susan Williams and Beckie user in mind. The support from manufacturers, vendors and
Campbell) started The SoundGirls Podcast, which has been fun. independent professionals has been inspiring. Each webinar has
It then started to become clear that 2020 was going to be a confirmed what I suspected all along: the production industry
wash and along with that came a deep mourning period for all we’ve all chosen to make our profession is unlike any in the
the things that will be lost in our industry, companies, friends, world. We are incredibly collaborative, great problemsolvers
venues, etc. This was and is particularly hard to deal with. I love with a genuine desire to learn and value our relationship with
this industry and consider most of the people my friends and co-workers like no other industry.
family. I’m still processing this deep trauma. I’d like to say I’ve accomplished a number of house projects
So, as I believe many of us do, I’ve worked on projects and or spent time on hobbies during the past three to four months.
hobbies – something that we could control. I spent a lot of time in Unfortunately, those projects will have to wait until I get back
my garden and now am enjoying the bursting colors of my flowers out full time on shows – I’ll have a little more time on my hands.
and eating fresh veggies. I will be getting chickens this week. Meanwhile, I’m looking for new opportunities that every chal-
I’ve finally reduced my footprint on this earth – my world lenge in life presents.
pretty much consists of 10 to 12 blocks from my house. I shop
at the two corner stores for staples (one is an Asian market so Ryan O John: With such a massive change in the industry, I
I can still get many ingredients I need), the farmers market, in needed to get a moment away from it, so I spent a week doing
addition to visiting my coffee shop and the post office, and also woodworking. It’s something I’ve never done before, but it
walking along the beach. (I do not plan on going back to how I seemed like a good idea to work on something tangible that I
lived before). I’ve only bought three tanks of gas since March. The can physically feel and touch so that once a project was com-
farthest I have driven is to Los Angeles (about 60 miles) a few pleted I would feel an actual accomplishment. I found some
times and to Lompoc (about 60 miles) to protest the conditions outdoor furniture in a catalog that looked fantastic, so rather
at Lompoc Federal Penitentiary and the total disregard that our than spend $2,000 per chair, I ordered some wood, designed
country has for incarcerated people. plans, and built it. It was certainly nice to be able to physically
touch something I built.
Kelly Epperson: Like mostly everyone in our industry, I’ve been After that, I spent a week doing a pretty in-depth analysis
adapting to this place called my home. Adapting to not only to of plugins, phase, and latency. Running a Smaart rig through
being home for an uninterrupted period of time, I’ve also found a console, I got some time to take a look at the massive dif-
it to be a different challenge adapting to a more traditional work ference in phase shifts that each of the various versions of a
week. Spending most of my work time on the road and never particular channel strip caused. It’s quite insightful to see the
really “shutting down” (and that could be a longer discussion), measurements of these tools and align that information with
it’s been interesting adjusting to the “groundhog day” effect. what you hear, the process certainly helped me understand why
Early in March, my friend Pete Erskine and I decided to launch I like some plugins better than others.
a webinar series (Practical Show Tech) focused on the technology The process also allowed me to run transfer functions through
and techniques used in the production of events. Our group my usual show file to look at an overview of processing that
grew by a couple more folks (Mac Kerr and Bruce Kraemer) as I was doing on individual elements. I learned that I had a few
we launched the series. Initially, we took on topics related to things in my file that were doing some extreme changes when
live sound and comms since that’s our primary role on shows, it all summed together, but seemed small in each of the serial
and this then grew to broader discussions in market segments and parallel processes. In the end, I rebuilt a lot of my show files
including broadcast and even show calling. with this info, and hopefully, everything sounds better when
Early in the process I would find my days filled with phone call we get to hit a show again.
after phone call before and after episodes, connecting with folks The following week was all about room acoustics, and loud-
I hadn’t spoken with in years or complete strangers reaching speakers. I learned as much as I could about speakers, propagation,
out to me with ideas for future episode topics. In some cases, I FIR, IIR filters, and how to linearize both the phase and frequency
found something of interest to me and simply reached out on response of a loudspeaker system. That, of course, turned into

28 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

me building 18 acoustic panels and eight tube traps, and picking with system processor software updated and programmed
up a DSP box that can process audio in real-time and taking a lot for different loudspeaker configurations. We also constructed
of before and after measurements of my studio space. new connection panels for some of these racks. All latches and
I almost forgot about the podcast I started with a few friends, casters were checked and serviced. Further, safety and rigging
Live Sound Bootcamp, which covers the curriculum of a class on was verified for lifts, truss, spansets, stands, stairs, staging and
live sound from plugging in cables to advanced mix techniques, other structural and motorized equipment.
all laid out in episodes that cover a pretty broad education. Staff skill development. With the warehouse organized and
Hopefully some people find that interesting or insightful, or in good order, we turned our attention to our most important
just funny. Regardless of how it’s received, it’s been nice to assets, the human kind. Currently we’re working on methods
geek out with friends on audio. to avoid having live skills such as mixing, lighting and video not
Lastly, I’m fortunate that touring isn’t my only job, so during atrophy. (When the relaunch comes we can’t be missing cues!)
this road-downtime I’ve dug as deep as possible into my design For the audio team, using multi-track recordings of artists they’re
work. While all these consoles are back in the shop, it’s the best familiar with provides an opportunity for relevant “stick time”
time to provide customers with an (Avid) S6L software update on the consoles. DMX simulators and visualizers let the lighting
that can address as many needs and desires as possible. Every folkss utilize their consoles and simulate shows. The video team
year I reach out pretty publicly to ask engineers what they need has been very lucky. Video took on the task of learning Open
from their consoles, and I get a pretty hefty list, but this year Broadcaster and interfacing with our cameras and switching to
with most engineers home, my request list was epic. So it’s my setu p streaming systems and mobile videoconferencing solutions.
goal to try and get as much of that into the console as possible As this sector of the business develops, these skills will be highly
before everyone’s back out on the road. relevant. We’ve already assisted venues, houses of worship and
corporate clients in improving Internet broadcast content. The
Scott Holtzman: We attempted to make the best of this lighting and audio team has been able to join in this effort.
profound crisis in our industry and focus on improvement of Lastly, each member chose continuing education that they
process and staff, the goal being to come out of the shutdown wanted to pursue during the shutdown, and the team sup-
stronger and more prepared to take on the challenges that the ported these professional development goals. Showing our
restart will present to us. commitment to the staff helped improve moral during these
First we met with staff and included them in the deci- challenging times. Weekly video conference calls allowed us to
sion-making process of staffing levels during the shutdown. stay connected and discuss both business and emotional issues
Everyone was supportive and voluntarily gave up shifts and that the group could assist each other with and provided needed
hours to give opportunities to work for everyone. Our ownership connection in a time where isolation ruled.
and management then set out the areas of focus and the goals As with any effort, not everything went to plan. With all
to accomplish. We broke it down into three working groups: the gear in the warehouse. it ended up being quite cluttered
and difficult to organize. We sorted by most-recently-used
1. Process and organization criteria and better utilized our vertical space. Drapery was also
2. Equipment maintenance and improvement vacuum-packed to further reduce space and protect the fabric.
3. Staff skill development We finally got in front of the process and the warehouse has
functional workspace and staging areas.
Process and organization. The first activity on the list was The profound impact to our industry can’t be understated.
to completely inventory both our for-sale stock and rental Utilizing this time to strengthen existing relationships and forge
inventory, with the goal of making sure our assets were all in new ones added additional hope. We still face uncertainty and not
the warehouse as well as to identify assets that could be sold knowing when we will return to work. Additional new forms of
to contribute to our monetary reserve. A lease was expiring on revenue may have to be located. The community has supported
our sales office that also had a small warehouse. It was decided our counter sales and streaming events now dot the schedule.
two locations were a luxury that could be eliminated during the Unity is our strength and together I’m confident we will emerge
shutdown. All material was transferred to the main warehouse, with a newfound appreciation for each other and our customers.
where shelving was reconfigured and ESD workstations were
added to the shop, and then all gear was inventoried, tested, Chris Mitchell: I started off the lockdown with catching up on
labeled and placed into the new location. family time and relaxation, but the luster of unpolished adora-
Equipment maintenance and improvement. All equipment was tion quickly faded. I need to create and expand my knowledge.
checked for proper operation. Loudspeakers were swept, cables So, I rebuilt another Yamaha M1532 console, full recap, trans-
tested and distro connections verified, along with a myriad of former direct outs, LCR EQ upgrades, etc. I designed a few new
other functional tests. The equipment was placed in its new circuit boards for the upgrades, then I created a 5.1 surround
permanent home, and all shelving was labeled and verified sound mix from our recent shows at the Ryman Theater. I used
against the inventory system. Amp racks were reorganized, multiple audience mics combined with the board mix and built

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 ROUNDTABLE

a 5.1 matrix in Reaper. It sounded huge and immersive. I rebuilt

a rack from a PM1000, then I built another rack using eight
channels from a PM2000.
Next, I refurbished a Tascam 388 reel-to-reel tape recorder with
eight-channel mixer – first time I’ve used tape in over 15 years.
(Bring back Ferric Oxide-backed Mylar!) Then I built a bass guitar
rig with 4 x 8-inch B&C midrange drivers over dual 18-inch Bag
End subwoofers, tri-amped in stereo with active crossovers, EQ
and delay. Because I like big bass and sawdust. Time for something
else. (Enjoy some photos of Chris’s handiwork here.) LSI

30 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 Conversations
MAKING IT WORK
Checking in with veteran
production pro Bill Di Paolo.
by Michael Lawrence
Bill Di Paolo has worked in live event production since he could
walk. He’s now the owner and technical director of Entertainment
Services, a production company based in upstate New York that
handles lighting, audio, and video for events of all sizes in the region.

Michael Lawrence: So, I was thinking back and I think the

first show we worked on together was 2002, which means we’ve
been working together for 18 years. I was in high school and
helping you out with lighting.
Bill Di Paolo at his shop in upstate New York with some of the RCF
inventory he recently added.
Bill Di Paolo: Yes. I remember. I came into the theater during
the day and you were there. And I said, “What are you doing
in here?” and you said, “Oh, I skipped class to come focus the we didn’t get the right information, or made an arrangement
lights,” and then I got yelled at! without us knowing that put a show in a bad spot. And they
call us because they know we’ll make it work.
ML: Oh, you got in trouble? I didn’t know that!
ML: The trick, to me, is where do you draw that line? If you
BD: Yes! [laughs] I told them, “Well, I didn’t know! He was here establish the pattern of “Don’t worry about Bill, he’ll figure it
when I got here!” out, we don’t need to keep him in the loop” – which I’ve seen
people do – you can really end up with problems. Or when peo-
ML: That’s funny because I was this kid who thought being able ple want to hire you because of your expertise but then ignore
to mix sound was the coolest thing in the world. And you’ve what you tell them. We dealt with this the other day, remember?
never liked doing audio, so you were glad to let me do it, but I The client called and said, “We’ve fired our sound tech because
thought I was getting away with something. the sound was horrible, and we need you to come in for this
event, and it has to be perfect.” But they didn’t understand
BD: And I remember that lighting console the school had – why I wanted my mix position to be in the same room as the
they bought it used and half the faders didn’t work. And the show, or why I wanted paddles for the RF, and so on, and now
sound system… I’m starting to understand why they had a failure last year. If
people don’t address any of the reasons for failure, they’re crazy
ML: Yeah, awful. The coverage started something like 35 feet to think they’re not going to have it happen again.
into the house, so if you were sitting in the first 15 rows you
just weren’t going to hear the show. But that set the tone for a BD: Right, there are so many issues that people aren’t neces-
lot of the work we do together, I think – we’re working in, let’s sarily aware of so they don’t realize there can be a problem. You
say, “imperfect” situations. brought up RF – so often, clients don’t want to hear about it.
I dread having that conversation: “My A1 wants paddles side-
BD: All the time! I’m thinking back on all the situations we got stage.” So sometimes I tiptoe around these things. But then on
the call because someone already dropped the ball in some way. the other hand we’ll get a call and they’ll say, “We rented 24
Someone didn’t do his job. Like “Hey, our show opens tomorrow, wireless mics and they don’t work.” Well, that’s because there
and we’ve fired our lighting designer, and there are no cues in are three DTV stations blowing through your building. That’s
the board.” And we had to go in there and make it work. My why we recommended doing the coordination that they didn’t
father, who was in the business, taught me “You have to deal want to pay for. But some people don’t want to hear that until
with what you get and make it work.” And that’s what we do. something goes down during a show and then you have to say,
But I can’t tell you the number of times someone messed up and “Remember that conversation we had?”

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 CONVERSATIONS

At the end of the day, it can be tough when a client is only

interested in the cheapest possible option. Think about the cost
of a basic professional-quality wireless mic system. I’ve had
clients say, “Wait, but I’m looking online and I can get one for
54 dollars.” And I answer “Please, don’t do that. Save yourself
the problem.” Then invariably those same people call back a
week later and say “Well, the system doesn’t work.” Right. So
when I’m wearing different hats – sometimes I’m the producer
or promoter of a show, and yes, I have to be aware of how much
things cost, but I also want to make sure it works.

ML: In that vein, you’ve changed your approach towards gear

and crew labor pretty drastically since we started working
together. You used to have a big shop full of a ton of stuff, and
so it used to be “How many hands can we get?” And we were
loading tons of trucks and moving a bunch of heavy stuff all
over the place. We wanted to get as many hands onsite as we
could because we wanted the in and out to go faster.
But we evolved that into slimming things down and really
taking a close look at our efficiency. Taking the same labor
budget and using it to bring in a few really high-level techs.
And that works because now, for example, we have a smaller,
lighter, more compact, and surprisingly powerful PA that I can
fly by myself. The lighting rig is all-LED now so we don’t need
eight hands to help put it up. Stuff like that. The gear that you’ve
invested in, in terms of equipment, allows us to travel lighter,
and that in turn allows using the budget to bring in some great
“hired guns” who can just come in and do their thing. Plus,
your entire rig fits in your garage that you rebuilt into a shop.

BD: Exactly. That was always the thing – I figured with more
people, things would go quicker. Which is true, to a point. But Above, prepping a showfile on a Behringer X32, and below,
I have to say, the investments that we’ve made here over the inspecting some rigging equipment.
last few years – for example, lighter weight line arrays that
can go up faster, and then we can also use rigging systems ponytail and the T shirt, and nowadays it’s all about techs. These
that don’t necessarily require power – that’s the way to go for people aren’t getting hired for their strength. They’re getting
a lot of the work that we’re doing. If it’s a bigger show then we hired because they know the systems inside and out.
call in our friends from other companies and we partner with
them to help bring in what we need. A couple years ago, we BD: Sure, like on the “Monsters of Rock” cruises I do, they use
had a huge warehouse filled to the rafters – you couldn’t even Loud and Clear Inc. and those techs know everything. All of the
move in there – and half the stuff didn’t get much, if any, use. audio team, they have to be able to do everything. And that’s
Of course, it was hard for me to get rid of some of that gear, what is needed now – it’s a lot more than pushing cases. You
but I don’t regret it. have to know the entire toolset.
Now our front of house footprint is so small – I always think
about how many seats we would have had to kill back when ML: This was the big driving point behind me buying my own
everything was still analog. Your little Midas [Pro 1 console] console. It’s not a return on investment thing, because I don’t
alone replaced racks and racks of analog gear. And now you show rent it out. So, in terms of dollars, that doesn’t make sense.
up and you plug in the digital snake and off we go. I mean, we But it takes a lot of variables off the table – I work faster, I’m
all agree the sound of the old boards was great, but for what more accurate, I don’t have to worry about unknowns, I know
we’re doing, that’s done. exactly what I’m dealing with. Remember some of the crazy
held-together-with-tape consoles that we’ve run into in some
ML: It kind of goes hand in hand with the evolution of what venues, where there are error messages popping and consoles
we expect from a crew member in the modern world. I think actually locking up during the show? And remember the guy at
about the old “roadie” stereotype, the big burly dude with the that one venue telling me “Don’t touch it here or here, or it will

32 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

shut off.”? Come on – are you kidding me? I don’t want to deal
with that. It’s worth something to me not to have that stress.
I’ll provide a console. I’ll carry my own tool. And when you’re
working as LD you carry your own console as well.

BD: Right, sitting there at the console wondering if you’re going

to make it to the end of the show before the thing goes out –
we’ve been there. That’s no good. If the rig goes down during the
show, everyone’s going to look at us, even if the failure wasn’t
our fault. We don’t need that. I bought a lighting console so I
don’t need to worry about that.
There’s a venue I work with here and their console kept crash-
ing. The crew chief called me during a show one day and said.
“Well, the board went.” During the break I walked the crew
through creating presets in the backstage architectural lighting
controller. It wasn’t pretty, but they got through the show. But
the reason I bring that up is because for two years prior I’d been
telling the venue management, “This board has a problem.”
And the sad part was, even though they had the money, they
didn’t want to deal with it and ended up ruining a production.

ML: And that’s kind of where we started. Our job is to say

something to the client ahead of time, so we can head off those
issues, and prevent those issues before something fails during
a show. Not after. To me it goes right back to the same idea
of hiring the right people. I like to think of it like the lawyer
versus the paramedic. The lawyer can say, “Well I know where
to get that answer,” but the paramedic has to know the answer
immediately. And those are the people I want behind the con-
sole. If something happens with a patch or in monitor world,
or if there’s a wedge melting down on stage, I don’t have to go Di Paolo and Michael Lawrence preparing his new RCF HDL6-A
running because I know they’re going to handle it. line array system for rigging prior to a local event.
We have a great team now to handle these things. I’ve had
problems crop up in audio world during shows that you didn’t had to sit down with them and show them how it would work,
even know about because you weren’t on my comms channel, and now they say, “Well, this is a lot easier.” I also don’t mind
and because we had the right people up there on stage to deal hanging the show now because it goes up so quickly, and I don’t
with it before people ever knew there was an issue. I just kept have to do a massive labor call to get it up in the air. One client
on mixing the show and I knew the crew was talking care of it. I work with was scared of the LED rig until he realized he could
I didn’t have to worry. have any color he wanted, and now he thinks he’s “king of the
LEDs.” [laughs] He comes up with new ideas for looks and he
BD: That’s really what keeps the phone ringing. The piece of loves that I can just program it for him without having to go
mind for clients – whatever happens, they don’t have to worry change gels.
about it because no matter what thing they forgot to ask us This allows us to keep moving forward and doing cool new
for, or the promoter forgot to tell us, we make sure it happens. projects. All these years we’ve been working together, we’re
But, yeah, that’s the thing – I hope that other regional compa- always doing new stuff. We never settle. The projects I’m doing
nies, smaller companies realize – it’s OK to let go of that gear. You now, I never thought I’d be doing them. But it’s great. And it’s
don’t need to sit on a warehouse full of stuff that you don’t use. fun to be working with folks on that level who are passionate
about the work. I hope we never settle – I hope we can just keep
ML: I think about all of those lighting “meat racks” we used on doing what we’re doing. LSI
to have with hundreds and hundreds of lekos that went out
three times a year. Michael Lawrence is an independent front of house engineer and
system tech, and he’s also the technical editor of various pro audio
BD: And I finally got all my clients to be OK with the LED publications. Read more from Michael and reach him at precision-
lighting rig. There was this fear of LED lighting fixtures. I really audioservices.com.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 33

 Business Matters

STABLE & STEADY

The value of keeping takes all of the necessary personal information and this is sub-

emotion out of the mitted to the powers that sit behind closed doors. Because the
decision makers never meet customers, they can’t be swayed by

decision-making process. personal factors such as charm, physical appearance, and so on.
Decisions are made based on facts. Banks take the emotional
by Peter Janis connection out of the equation.
When I was working for a high-tech company in Ottawa, the
manager, an army veteran, came from the used car business.

H
umans are driven by emotions. Banks long ago discov- He was a salty old pro and taught us how to ask for the order
ered that making decisions based on emotions gets and close the sale.
them in trouble. When folks go to a bank to apply for One of the best methods to close a sale is to employ the
a loan, they never meet the people who actually signs off on “good-cop, bad-cop” strategy. For example, the client is ready
the approval (or not). Instead, they meet with an associate that to buy but doesn’t like the $1,800 price tag, and so makes a

34 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

counteroffer of $1,500. Then comes the strategy: “I don’t’ NAMM Show. It proved to be a great acquisition that really
know if we can go this low as margins are tight. Let me (the helped us grow.
good cop) speak to the manager (the bad cop) to see if I can However, from that company’s perspective, as they grew they
get you a discount.” came to the conclusion that we were too small of a distributor
So off I would go to visit the manager in his glass walled for their brand and they opted to move their distribution to
office. I would close the door behind me, sit down, make small a more established entity that had the financial clout to place
talk, wave my hands up and down, get up off my chair, punch large orders. My initial response was betrayal, frustration –
some numbers on a calculator, and then come out of the office in other words, emotional. I was upset! We took them from
shaking my head with a piece of paper in hand. The client could nothing and made them a well-known brand racross Canada.
see the entire interaction: the bad manager not allowing the Where was the loyalty?
good salesman to close a deal. I would invent a number like But after I thought about it, I realized that the company
$1,673.59 to make it look like we shaved every penny we could made its decision based on well-founded business fundamen-
off the price. This usually made clients happy, believing they’d tals. This had nothing to do with me or the job we did. It was
negotiated a discount. merely evolution. This hardened my resolve to be in control
of my own destiny. I immediately began developing my own
AVOIDING THE TRAP brands and turned Radial and Primacoustic into international
When I was just 24 years old, I was given the title of “new success stories. (And by the way, the president of that company
product director’ for one of Canada’s largest distributors of remains a friend to this day.)
music products. I was young and super aggressive, and had no
patience for people that made (what I considered to be) stupid THE RIGHT FIT
mistakes. My boss would constantly remind me to count to It’s easy to allow emotions to get in the way of smart deci-
10 when I got upset when orders were screwed up and also sion-making. I recall a fellow that worked in our shipping depart-
helped me realize that you need people of all levels of intellect ment. He was a very good shipper and, although rough around
to run a business. Not everyone can be the CEO! It’s far better the edges, had a good positive attitude. We liked him.
to measure your expectations. However, he wanted to get into sales. I had reservations
because I didn’t believe that he had the charm and people skills

When we’re faced with

needed for the job. He gave us a soft ultimatum: “Either move
me to sales or I have to find another job.” Against my better

challenging times, I believe judgement we gave him a sales position. He failed miserably.
He wasted several months of his time and ours.
the best strategy is to remain Sometimes, it’s better to let someone go instead of trying to
fit a square peg in a round hole. Once again, our emotions got
calm, sit back, and look at in the middle of smart decision making.
With all of the uncertainty surrounding the ongoing COVID-
the situation as analytically 19 pandemic, it’s easy to find ourselves emotionally caught up
in all the doom and gloom. This can lead to emotionally charged
as possible decisions that may not be for the best. It’s important to convey
right up front that mother nature (in this case the market)
During my 10 years with that company, I traveled extensively always finds a new equilibrium and that although we’re all facing
from coast to coast. I knew all of the major dealers and they hardships, there will be pent-up demand for hair cuts, updating
knew me. When I started my own company, we sent out credit software, going out to restaurants, and enjoying concerts. I’m
applications and I would often hear a refrain from these same an uncurable optimist, so my perspective is surely skewed.
dealers saying, “I don’t need to fill this out, Peter knows me.” However, when we’re faced with challenging times, I believe
But I refused to fall into this trap. I told them that we had an the best strategy is to remain calm, sit back, and look at the
accounting department and those folks were responsible with situation as analytically as possible. Also consider that it may
doling out credit. They made their decisions only after proper be worth investing time in areas of our lives that often go
due diligence. I certainly knew which dealers were trustworthy, ignored, such as spending time with our families, cleaning out
but instead by trusting my staff to do their jobs, they gained the garage, fixing that leaky tap or simply going out for a long
confidence and got good at their craft. The point here, just hike in the woods. LSI
as with banks, is that I didn’t allow my emotions to make a
financial decision. Peter Janis is the former CEO of Radial Engineering, Prima-
In the late 1990s, my company took on Canadian distri- coustic, Hafler and Tonebone. He now runs exit-plan.ca where he
bution of an emerging audio product line based in the U.S., assists business owners with their strategic planning, growth and
after finding them in a 10- x 10-foot table-top booth at the eventual retirement.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 35

 Analyze This
WHERE’S THE ENERGY?
Understanding the SPL
metric “dB C minus A.”
by Michael Lawrence

W
hen measuring SPL (sound energ y concen-
pressure level), indicating the trated in the lower
frequency weighting curve frequency range,
used for the measurement is critical. In where the A scale
Figure 1, we see the A (orange) and C isn’t sensitive to Figure 1
(red) weighting curves, the two choices it. If the readings
you are likely to encounter on a typical are similar in level, that tells us that than the L50 for the A-Weighted data.
SPL meter, thanks to IEC 61672. most of the energy is higher up in the In other words, C-A = 5.3 dB. (And, as a
Although these weighting cur ves frequency range. note, this is a relative value, comparing
owe their creation to a failed attempt Figure 2 shows an actual example. two dB SPL values, so the unit is dB, not
at emulating human tonal perception at Here we have two songs from a small out- dB SPL.)
various SPLs, the focus of this discus- door concert I mixed back in the summer Although it’s good practice to include
sion is their remarkable difference in the of 2019, viewing SPL C Slow and SPL A a time specifier (Fast, Slow, Leq 1, etc),
low-frequency range. While the C curve slow. We can see the C Weighted levels in most cases the C-A value stays pretty
extends all the way to the lower limits of are pretty steadily about 4 to 5 dB higher consistent, within about a dB, regardless
human hearing with only a slight rolloff, than the A Weighted levels. of the time window we look at (because
the A curve has a significant LF rolloff, To clarify the data, let’s look at Leq both measurements are using the same
hitting about -20 dB by 100 Hz. In prac- 1 and Leq 10 in Figure 3. Throughout time integration).
tical terms, the subwoofer range is virtu- this time range, the average level for the In simple terms, the C-A metric is
ally ignored. (As an aside, this highlights C-Weighted data (L50) is 5.3 dB higher sort of a one-number indicator of the
the ineffectiveness of using A-Weighted
measurements to evaluate nuisance noise
complaints, as most current legislation
specifies, therefore completely ignoring
the most commonly problematic fre-
quency range.)
So, the rule of thumb for SPL mea-
surements is to use C Weighting if you
want the measurement to include the
sub range and use A Weighting if you
don’t. (A Weighting is widely used for
Figure 2
sound exposure measurements because
it tends to correlate well with noise-in-
duced hearing loss, a topic covered in a
previous article.)
The focus here is the additional infor-
mation to be gained by looking at both
C and A Weighted data together. (With
apologies to Tolkien, there is no one
metric to rule them all. Viewing multi-
ple metrics gives us much more context.)
If C levels are significantly higher than
A levels, we know that there’s a lot of Figure 3

36 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 Figure 5

Figure 4

amount of “tilt,” or how much of the

signal’s energy is concentrated in the LF
region. This makes it a remarkably useful
metric for show-to-show mix consistency,
especially when dealing with a different
room and PA system each night.
C-A also plays a role in sound expo-
sure and noise pollution applications. A Figure 6
Weighted SPL is generally a good indi-
cator for noise-induced hearing loss, • Pink noise extending from 20 Hz to However, we can’t fall into the trap of
although extremely high levels of low 20 kHz has a C-A of just less than 2 dB. simply thinking about C-A as “sub energy
frequency energy can be damaging, so • Recorded music tends to have a C-A indicator.” For example, in the bluegrass
if a mix has a high C-A value, that is a of about 4 to 5 dB, which is relatively song measurement depicted in Figure 5,
good indicator that additional attention consistent over genre, with outliers being the C-A value continuously decreases as
should be paid to LF exposure. (This is some jazz and orchestral music, which the song progresses. This doesn’t mean
detailed in the AES Technical Group paper had a C-A of about 1 to 2 dB in my tests. the LF energy is decreasing as the song
regarding sound exposure and noise pol- • Live music tends to have a C-A of goes on! In fact, it remains relatively con-
lution, available at aes.org, to which I was about 8 dB, but this varies a bit as well. sistent throughout.
a contributor.) Using data from 14 concerts I metered What’s really going on here is that the
Smaart (from Rational Acoustics) cur- during 2019, the mean C-A was 8.6 dB, A-weighted level is increasing due to the
rently calculates a Leq1 C-A as a logfile with a standard deviation of 2.2 dB. more extensive 3-part vocal harmonies
metric, but due to its usefulness as both This squares with our expectation that towards the end of the song. That’s more
a mixing tool and for health and safety live music generally has more LF energy hi-mid/HF content towards the end,
considerations, update v8.5 will add “C-A” than recorded music. which changes the overall distribution
as a weighting curve option for Leq mea- • We’re used to thinking of a 10 dB of energy in the frequency spectrum
surements, which makes it available as increase as perceptually about “twice more towards the HF. Viewing the C-
real-time data both in the SPL History as loud” but a closer look at the Equal and A-Weighted Leq 3s data in Figure
Timeline and on a meter (Figure 4). Loudness Contours reveals that, in the 6 reveals the trend.
In the process of testing this feature, LF region, the Contours are very closely So, a safer way to think about C-A
I’ve found Leq 1 C-A to be a very use- packed vertically. This tells us that in might be an indicator of how much of
ful metric overall, with a shorter term the subwoofer range, about a 5 dB the overall energy resides in the sub-
Leq 3s C-A behaving very similarly to increase in SPL results in a 10 phon woofer range, beyond the reaches of the
an “SPL Slow” type of meter ballistic, increase, which represents a doubling A-weighting curve. LSI
which is helpful for studying short sec- of perceived loudness. Therefore, the
tions of music. It should be noted that LF range during a typical live concert Michael Lawrence is an independent front
the average (L50) of both metrics tend could be considered more than twice of house engineer and system tech, and he’s
to closely agree over longer periods of as much subbass to a typical listener also the technical editor of various pro audio
time. A few experimentally-determined when compared to a typical album mix publications. Read more from Michael and
observations: played at the same level. reach him at precisionaudioservices.com.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 37

 World Stage

CARRYING ON
Adapting to interesting
times and forging ahead.
by Live Sound Staff

A RAPID CHANGE OF DIRECTION

Created to meet the surge in demand for livestreaming services

resulting from the Covid 19 pandemic, Swedish production com-
pany QTECH has launched a new streaming division, QTECH Jesper Sirenius (QTECH LIVE, at left) and Arnold Lindberg (Sound
LIVE, developing a system approach that utilizes an Allen & Industry) with the dLive S7000 that’s at the heart of QTECH’s
streaming operation.
Heath dLive mixing system.
Reacting quickly to changing circumstances, on the day after
Sweden announced restrictions on live performances in March,
founder Timmy Qvarnström and CEO Kevin Qvarnström began
the transformation of the QTECH warehouse near Gothenburg
into a dedicated streaming facility. Although QTECH already
possessed most of the equipment required for the new venture,
it needed a mix system capable of handling tight setup times

PHOTO CREDIT: MARY BECK

and a diverse program of interviews, presentations and perfor-
mances across three separate studio spaces.
In response, Arnold Lindberg of Sound Industry Gbg, a long-
time colleague of the Qvarnströms, offered to loan QTECH his
dLive system, preferring to see it put to good use while touring is
on hold. Lindberg has extensive experience with dLive, including
a 2019 international tour with Swedish metal band Lok, and
was able to help QTECH head of sound Jesper Sirenius with KiAN president/owner Mark Reimann (left) and general manag-
implementing the system. er Derek Mahaffey (right) with many of the company’s newest
Lindberg’s dLive system centers on a DM64 MixRack con- L-Acoustics components.
trolled by an S7000 surface, with an IP8 remote controller
providing an extra eight faders for managing FX returns. A PAST, PRESENT & FUTURE
Waves 3 card fitted in the S7000 provides access to a Waves
Mobile Server for additional plugins. In 1997, KiAN Concert Sound Services in Vancouver became the
“I’d never worked on an A&H mixer before, but with about an first Canadian company west of Toronto to own an L-Acoustics
hour crash course with Arnold I was up and running,” Sirenius V-DOSC system, and now, more than two decades later, the
notes. “The dLive has been the perfect tool for our livestream sound reinforcement provider has re-invested in L-Acoustics
setup. With new bands and shows every day the switching with a new system built on K2 and Kara.
between different setups is as easy as it gets. The drag and drop Sharing inventory between its Vancouver and Seattle area loca-
feature of the channels on the surface is one of the things that tions, KiAN’s latest system complement, delivered in May, is com-
has made it super easy and quick to get the setup of the day up prised of 48 K2 and 24 Kara enclosures, 24 KS28, eight K1-SB and
and running within a minute.” four SB18 subs, 10 LA-RAK II touring racks — each loaded with
QTECH LIVE is now expanding quickly in streaming talk three LA12X amplified controllers — and three Milan-certified P1
shows and sports events as well as live shows by artists that AVB processors. In tandem with the purchase, the company will
include the Troublemakers, Attentat and Jävlaranamma, plus soon be granted L-Acoustics Certified Provider status (CPr) upon
launch parties and interviews with bands such as Gathering of completion of the mandatory in-depth product training that has
Kings and Amaranthe. been delayed due to current Covid-19 travel restrictions.

38 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 “We purchased V-DOSC 23 years ago and our system con-
tinues to give us great ROI,” says KiAN President and Owner
Mark Reimann, who first joined the company in 1985. “It’s
been out on tour with Willie Nelson and ZZ Top and used at
the Merritt Mountain and Squamish Valley Music Festivals, just
to name a few clients over the years. We also installed V-DOSC
at the iconic Commodore Ballroom in 1997, and it’s still in use
there, demonstrating the quality, reliability and long-term rider
acceptability of the L-Acoustics product.”
Based on this success with V-DOSC and recommendations
from its engineers, the company again turned to L-Acoustics.
“We’re always looking toward the future and seeking better ways
to support our customers, so earlier this year, when the timing
was right for us to grow our inventory with new loudspeaker
systems, it was not a hard decision,” concludes KiAN general
manager Derek Mahaffey. “We love the power-to-weight ratio The new d&b KSL arrays flying at the San Jose Civic.
of K2, and with how light the enclosure is, we feel it will be the
perfect solution to a common problem where other PAs are too “We were counting on d&b ArrayProcessing to keep the energy
heavy to achieve the vertical coverage needed. Our clients are off the common wall,” says Adrienne Felicioni of LJ Productions.
all very happy to hear that we’ve added it to our inventory and “We conducted dB testing before and after the KSL install. There was
they’re looking forward to using it soon.” an incredible drop in sound leakage getting into the Montgomery.”
He adds that the install process went very smoothly. “The
MEETING SEVERAL CHALLENGES amp racks were pre-built and wired at our warehouse. The
room previously had flown delays that were no longer needed
The San Jose Theaters, a collection of four historic cultural since the KSL-Series has great throw and coverage. Team San
venues managed by Team San Jose in partnership with LJ Jose Theaters production team at the San Jose Civic were very
Productions, recently installed a new d&b audiotechnik KSL pleased with the coverage and clarity and looks forward to the
loudspeaker system to serve the San Jose Civic, the first of Civic’s reopening.”
its magnitude in incorporating ArrayProcessing optimization Independent sound engineer Michael Clifford notes that
technology for concert venues in the region. the system design and installation has “built-in” sound quality
The San Jose Civic (2,850 seats, 3,300 general admission floor) control in the large upper level of the theater, an area that when
is located in the heart of the downtown neighborhood and makes unused, can create echoing during an event. “We’ve designed,
up part of the Team San Jose campus. Over the past 80-plus using d&b ArrayProcessing, a slot to apply a hard avoid on this
years, these four venues have played host to The Who, The Rolling upper seating,” Clifford explains. “It works flawlessly in elimi-
Stones, Frank Sinatra, Diana Ross, Bob Dylan, Barbra Streisand, nating the reflections we used to get from the empty space that
and many other legends. Installation began last summer, with now directs the energy evenly throughout the lower seating.”
the new system kicking off with back-to-back sold-out Deadmau5 He also says that the sound team was able to build additional
shows, followed by a host of performances and events. slots for various configurations that the venue’s most frequent
The installation of the d&b KSL system was a collabora- clients use, such as different front fill and sub placement require-
tive effort by both LJ Productions and the San Jose Theaters. ments: “Since we share a common wall with the Montgomery
Together, they worked to overcome a structural challenge that Theater, in the past, we would have to apply a strict dB limit
created a system design template for future venue installations. until their show was over. Now, we simply push a button that
KSL, the newest member of the SL-Series family, is designed to redirects energy away from the other theater without any noise
deliver full-range broadband directivity and extended low-fre- complaints from the other venue. In the past, with sub-heavy
quency response that helps keep sound off the walls and the shows, we would have to augment our system with oftentimes
stage, with the goals of enhanced coherency for the audience double the amount of sub power. As these shows return, they
and a quieter stage for the performers. still feel the need to augment, and since we only have 6 SL-SUBs,
The San Jose Civic shares a common wall with the more once they hear the KSL system, they quickly change their minds
intimate 468-seat Montgomery Theater, which posed a problem and put their extra subs back on the truck.”
as there are many times that challenged production teams to The system configuration is a combination of KSL12 and
isolate and control sound in the San Jose Civic during simulta- KSL8 loudspeakers (both left and right arrays have nine boxes)
neous performances. The venues often present performances joined by six SL-SUB subwoofers, four Y10P for front fill, and
simultaneously, so controlling the sound in the Civic took on two V7P for out fill. All loudspeakers are driven by a dozen D80
additional importance. amplifiers joined by a 30D amplifier.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 39

 WORLD STAGE

“The new cardioid KSL rig along with the cardioid SL-Subs
surpassed my expectations of its ability to eliminate unwanted
sound from wrapping around to the rear of the PA making the
stage volume significantly quieter, reducing the overall gain,
and improving the signal to noise ratio by leaps and bounds,”
concludes John Faldetta, owner of LJ Productions.

FULFILLING MULTIPLE DUTIES

The studio operation of the U.S. Food & Drug Administration

(FDA) recently implemented a new Yamaha RIVAGE PM10
digital console to enhance the production values of the admin-
istration’s content and keep its studio capabilities current and
relevant into the future.
Chad Heupel is the director of the FDA’s television studio,
one of the largest operated by a government organization in FDA studio director Chad Heupel with the new Yamaha RIVAGE
the Washington, D.C. area and used to create employee training PM10 console.
courses and public service announcements. The studio also
produces live and recorded programming to support various sitting around a U-shaped table. Now we have a dozen channels
initiatives with other federal agencies in the drug and medical of Skype that we feed mix-minuses to and bring in independent
devices industries. audio signals from each source. And, where we used to set up
“Higher-quality equipment is going to give us higher-quality 20 microphones in the studio, now it’s 20 different mix-minus
content,” Heupel states. “That will, in turn, add credibility to channels and 20 different audio sources. The studio control room
the FDA’s message. Reliability is also key. We’re often delivering is still running the audio board, but instead of the images coming
critical public information, live, so any type of system failure in on camera, they’re coming in on dedicated Skype channels.”
would erode confidence in our ability to protect and monitor He adds that the PM10’s Dante support also contributes to
public health and safety.” the studio’s new capabilities: “This console combined with Dante
The studio utilized a Yamaha MC7L console for years and gives us infinite flexibility. With the Covid shutdown, the ability
had no issues with it. However, considering future growth, to handle 144 channels in and out on a single network cable
expanding production requirements and elevating the FDA’s was exactly what we needed to keep us functioning.
perception, Heupel and team decided on the PM10. They worked “When I buy equipment, I buy the best I can because I expect it
with Austin Wydrzynski of Washington Professional Systems, a to operate at the highest levels for at least 10 to 15 years,” Heupel
Yamaha dealer, to configure the console and make sure it would concludes. “We chose this board because of the Yamaha reputation
be expandable for the future, but also serve their needs today. for quality. Our previous console was a workhorse for 12 years
The studio does a high volume of audio mixing for large- and we have no reason to expect anything less from this one.”
scale live programs, which often require additional freelancers
to complement the in-house team. Heupel; “We don’t always ACCENUATING A VENUE’S ASSETS
know who is going to be available on show days so we needed a
console that is intuitive enough where any operator who knows Originally built as a cinema in the 1930s, The State Theatre
a professional board could sit down and within 20 minutes be in State College, PA eventually fell into disrepair but has been
ready to mix a live show for us.” revitalized as a community arts center in a process that began in
The studio team also looked for channel scalability, plugin 2006 and continues to present with the recent implementation
availability, support for Dante networking connectivity and the of a new sound reinforcement system headed by Electro-Voice
flexibility to handle a diverse schedule of productions. The console X1 line arrays powered by Dynacord IPX amplifiers.
arrived in June 2020 when Washington, D.C. (and the rest of the The original venue closed in 2001, and to save it, concerned
world) was in lockdown due to the pandemic. As a result, Heupel local residents formed a non-profit group to acquire and refur-
and team haven’t had a chance to use the PM10 yet for traditional bish the historic building, that now hosts concerts, theater,
in-studio productions. Instead, it’s been adapted for remote and dance and movies, as well as education and worship events.
online production, but the results have been no less stellar. State Theatre production manager Augie Petaja oversaw the
“The studio has always supported public meetings and presenta- design and installation of the new system, which he describes
tions, usually held in a hotel ballroom using a portable field studio as long overdue: “Our existing PA system just didn’t provide
set-up,” he says. “Since COVID hit, all our meetings have gone the coverage or headroom that this venue deserves, and some
virtual. We’re still doing the public webcasts, but they’re no longer elements were no longer serviceable. So once we had the funding,
in a ballroom with remote-controlled cameras and 25 panelists I created a criteria list for the upgrade.”

40 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 notes Kepler. “Once we had it installed,
EV sent out their applications engineer
to help tune the system. They’re just a
great company to work with.”
The system consists of twin X1 arrays,
each with six 90-degree boxes over three
120-degree versions. Bass support is
delivered via two X12-128 dual-18-inch
subwoofers hidden beneath the stage plus
two of the new X12i-128 install version
of the subs flown above the center-front.
All loudspeakers are driven by four Dyna-
cord IPX20:4 amplifiers and controlled
via SONICUE software.
“Ideally, we would have put all four subs
beneath the stage, but there just wasn’t
room,” explains Petaja. “Fortunately, the
Left to right: Omar Palacios (EV), Mike Reynolds (EV), Augie Petaja, Mark McGuire (EV), flying version (X12i-128) became available
and Chris Kepler at The State Theatre, with new EV X1 arrays flying left and right. just as we were doing the installation. In
fact, ours might be the first ones out there.
The goal was to deploy an effective system that would work “This is a great room acoustically, and the X1 system accen-
with the theater’s budget and existing infrastructure, and last tuates that,” he concludes. “We’ve had nothing but positive
at least 15 years. Petaja engaged a rigging consultant to deter- reactions. It’s rider-friendly, the patrons love it, and we’ve had
mine how much weight the beams could handle, then invited great reactions from touring techs. We couldn’t be happier.”
proposals. After auditioning several systems, the venue selected
the Electro-Voice X1 (12-inch, 2-way design) from the X-Line DELIVERING SONIC TRANSPARENCY
Advance line array series.
“We listened to a lot of brands, usually in other venues due The Cube, a unique live streaming event space in Australia, is
to our busy production schedule,” Petaja states. “I drove to the result of the combined efforts of Melbourne AV retailer
Pittsburgh to check out the X1 at an outdoor festival so I could Concert Audio Visual, lighting and visuals specialists VizFx
see it being flown and then hear it during the sound check. I as well as Melbourne-based online radio station LESH FM,
also brought my own music to listen to as a reference. I came with a DiGiCo SD9 console at the heart of the venue’s sound
away really impressed with the capability and sound quality of design.
the system. When it came time to make a decision, the X1 was The SD9, supplied by DiGiCo Australian distributor Group
our clear choice.” Technologies, handles the mix of pre-broadcast audio along
For system design and installation, the theatre engaged with the stage monitor mix, DJ booth audio, and front-of-
Chris Kepler Audio Services, an area Electro-Voice dealer who house mix.
is familiar with the venue and worked directly with EV on the Concert AV sales manager Anthony Graziani, one of The
design. “We submitted all the room measurements to EV to Cube’s primary team members, says, “The SD9 can accomplish
make sure we had the right dispersions, fly points and angles,” a lot from such a compact format. The routing options and
onboard signal processing mean we have something in place
that is well suited for supporting DJ performance audio, but
can just as easily handle mixing an entire band for the stream,
or whatever else you can throw at it.”
The team’s in-house engineer, Oliver Coupe Sando, adds
that the SD9 was chosen for its sonic transparency: “When
we stream, we’re looking to introduce as little tone shaping
and color to the sound as possible, so that we can translate
what we’re hearing in the space to people’s headphones and
living rooms with the maximum amount of clarity available
to us. DiGiCo consoles are perfect for that, making the audio
unobtrusive, so viewers can just focus on what they’re watching
without having to worry about whether the sound quality is
A DiGiCo SD9 fills multiple roles at The Cube. up to par or not.”

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 41

 WORLD STAGE

MAKING A PLUG-AND-PLAY SYSTEM

Riedel Communications and Remote Recording Network (RRN)

recently collaborated on a unique remote mastering service for
a livestreamed concert performed by Peter Maffay and local
musicians from Steintor-Varietè in Halle, Germany.
The acoustic concert, which took place the second week of
April, was mixed on location by Werner Schmidl and, using
RRN’s remote mixing facility, mastered remotely by Peter Brandt
from Studio Boecker in Cologne. Both locations were con-
nected through the Riedel Remote Operations Center (ROC)
in Wuppertal, which served as the communications and signal
transmission hub of the operation. From there, ROC engineers
monitored communications, remotely configured all signals,
and transmitted all audio streams between venue and studio.
This method of communication and audio transmission was The Riedel Remote Operations Center, which served as the hub of
jointly developed by Riedel and Remote Music Productions, a the livestreamed concert.
subsidiary of RRN. “Together with our partners at RRN, we put
together an extremely compact plug-and-play system that could ning through a Waves SoundGrid Extreme Server, then taking
be linked quickly and easily to our ROC via a WAN connection. a basic audio output straight into the computer and using the
Without having to worry about setup and communications, computer camera as the video. We then start up YouTube or
Peter and his team could fully concentrate on their task at Facebook using a streaming key, and then copy and paste that
hand – delivering the perfect sound experience to listeners into OBS, which talks to the social media sites, so you get the
all over Germany,” says Carsten Voßkühler, project manager video and audio though that. The reason for using OBS is that
at Riedel Communications. “We’re happy to play a part in the it bypasses the typical live-stream compression of the social
development of this groundbreaking remote solution, which is media sites, so that the sound and video are much clearer. OBS
both cost-efficient and environmentally friendly for live event basically gives you multiple audio, video and live-streaming
recording, mixing, and broadcasting.” settings to optimize performance.”
Peter Brandt, who’s the founder of RRN, adds “Only 4 RU Regarding Waves plugin deployment, Chapman explains,
high, this system is ideal for getting the maximum out of FOH “We started with the Waves F6 Floating-Band Dynamic EQ,
mixes and is more than suitable for broadcast and streaming. It placing it on every input in order to accurately EQ as well as
was a joint effort from the concert’s FOH engineers, Riedel tech- compress or expand frequencies, to enhance whatever vocal
nology, and the RRN team, and the results were extraordinary.” or instrument is happening at the time. Since I started using
the F6, it is my go-to EQ, as it gives you so much control over
BRINGING THE CREATIVE ENERGY anything it’s on. I also use the SSL G-Channel as a master buss
compressor, because it really adds to the sound of whatever it
Mix engineer Herbert “George” Chapman, who has handled
front of house for performers such as Marilyn Manson, Dead-
land Ritual and Joe Perry as well as monitors for Steely Dan
and Donald Fagen on his solo tour, is utilizing a SoundGrid
Rack for Venue, Waves SoundGrid Extreme Server and Waves
plugins for livestreaming a show based on Peter More’s latest
record Beautiful Disrepair (produced by Donald Fagen) from
the Cabin Studio in Austin, TX.
“In this time of Covid-19,” says Chapman, “we happened to be
recording at my Cabin Studio just when the quarantine started.
Peter More had a tour planned and still wanted to perform, so we
jumped onto the livestream bandwagon and started with a few
short set livestreams over Facebook and YouTube, and then we
were asked to do the SofaKing Fest stream. I think this is a great
way to still reach the fans and keep the creative energy flowing.”
He adds, “We had to come up with a simple solution using my
Avid S6L 32D and a Waves SoundGrid Rack for Venue enabling Mix engineer Herbert “George” Chapman with some of the Waves
us to run Waves plugins directly within the console. I am run- tools he utilized on the project.

42 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

is on, and it helps keep everything in control. I also use it for balanced sound, enabling servers to interact comfortably with
parallel compression applications such as on drums or other their guests, and for the guests to enjoy fine dining accompa-
grouped instruments. nied by great sound.”
“Waves Primary Source Expander is another Waves plugin I Meanwhile, the Treehouse on the hotel’s 13th floor (pictured
use a lot, to control background noise and cut down on unwanted below) is intended to offer guests a unique nightlife experience
sounds around each mic. It lets me really tighten up the mix. without having to leave the hotel. Here the choice was four
This is a super handy plugin to have in a live setting as well. Artec 506-W loudspeakers, one in each corner facing toward
Waves H-Delay Hybrid Delay is my go-to delay, which I use for the center of the room and accompanied by two Quantum 10-W
all my tempo and slap delay purposes and for adding tails to subwoofers residing next to the couches. Treehouse also has an
certain phrases or words in the songs. It is so clear and precise, outdoor bar and patio area, equipped with four DAS WR-8826-
and it has lots of features to let you really dial in the delay you DXW loudspeakers. “Our greatest challenge in this area was to
need for any application. offer incredible sound and high energy without disturbing the
“Waves’ C6 Multiband Compressor is another great com- neighbors,” Gilman notes.
pressor that comes in handy when you need that ‘do-it-all’ The pool is covered by six WR-6412-DXW loudspeakers joined
multi-band compression. I’m using this on the acoustic guitars by two WR-322-DX subwoofers that are hidden in the planter
and anywhere else it’s needed for that extra-accurate frequency areas. “This is where the owners asked us to ensure the sound
compression. On the master of the mix and sometimes on would be very high energy,” he says. “and this combination of
individual instruments,” he concludes. “I use the Waves CLA-76 loudspeakers certainly delivered! I should also add that DAS
Compressor/Limiter to take the edge off of the mix and enhance power amplifiers drive every single loudspeaker throughout
the overall sound. It really pulls things together nicely. I also the entire hotel.”
use a Waves L2 Ultramaximizer clocked with the desk at 96k The new systems were installed in February and went live
as a final stage of compression and boost, to get everything immediately. “Everyone who hears the system for the first time
back to a nice tight overall level and sound. It gives the mix this is in complete awe. One of my favorite moments of this build was
professional sparkle that takes it from being an already good the day we finished tuning the pool deck,” Gilman concludes. “We
sound to a great professional polished sound.” had the volume turned up for testing and the general manager
approached us grinning from ear to ear to inform us that his
A SOUNDSCAPE FROM TOP TO BOTTOM wife called to tell him that the system sounded amazing. DAS
Audio’s support services also deserve credit. There is not a time
Management at The Canopy by Hilton, a new boutique hotel I can recall that any question I had was not promptly answered
in West Palm Beach, invested in the installation of an assort- by the DAS team. This really has been a win-win experience for
ment of loudspeakers from DAS Audio to meet several sound everyone involved.”
reinforcement applications.
Greg Gilman, who is involved in a
range of sound and music endeavors
throughout the West Palm Beach area,
was contracted to manage the venue’s
sound system installation. Working in
conjunction with Oakland Park, FL-based
TM Sound, an AV design/build firm, the
combined team deployed DAS loudspeak-
ers that include the company’s WR, Quan-
tum, and Artec Series lines.
“Most of the install inside the hotel
is a blend of a stereo sound system
reinforced by distributed audio,” Gil-
man explains. “The entryway of the
lobby has two Quantum 23-TW loud-
speakers, which provide guests enter-
ing the premises their first taste of the
venue’s high-quality sound. Inside the
Banter restaurant, there are two Artec
310.96-W loudspeakers that fill the
room effortlessly – without the need for DAS WR-6412-DXW loudspeakers covering the pool at The Canopy by Hilton in West Palm
increased volume. This setup provides Beach.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 43

 WORLD STAGE

HANDLING MULTIPLE DUTIES

The new Meyer Sound ULTRA-X40 point

source loudspeaker been deployed on a
wide range of portable and installed sound
applications since its introduction last

PHOTO CREDIT: 2019 FFJM-RENAUD ALOUCHE

year. One of the first ULTRA-X40 house
of worship installations is at Willow Creek
Community Church in South Barrington,
IL. TC Furlong of nearby Lake Forest sup-
plied five ULTRA-X40 loudspeakers for
overflow and special event support, with
calibration by owner TC Furlong.
“The phase looked like a flat line from
125 Hertz to 20 kiloHertz,” says Furlong.
The same new technology was supplied to
City Church in Bartlesville, OK by Fort
Collins, CO-based Octane Audio. The new Meyer Sound ULTRA-X40 point source loudspeakers deployed at La Coupole at the House
point-source loudspeakers serve as out fills of Jazz at Montreux Jazz Festival.
and delays within a larger system.
ULTRA-X40 loudspeakers were also selected for both mains At the LOCKN’ Festival in Virginia, ULTRA-X40 loudspeak-
and delay systems for an audio renovation at Austria Center ers supplied by DBS Audio Systems provided out fill coverage
Vienna (ACV), the capital city’s international conference venue. for LEOPARD line array systems at the Garcia’s Forest stage
ACV currently claims the largest permanent installation of and Super VIP tent. “Last year, we deployed different out fill
ULTRA-X40, with 34 loudspeakers in seven different halls. “I first loudspeakers on each stage,” says Dave Brotman, president of
heard ULTRA-X40 at ISE in Amsterdam and I was immediately DBS, “but this year, we used the brand new ULTRA-X40 point
impressed,” notes Ronald Wittenberg, ACV’s deputy head of source loudspeakers with huge success. From a system engineers’
event management. “I asked if it would be possible to replace standpoint, the new ULTRAs were the perfect complement to
some other planned speakers with ULTRA-X40 and fortunately LEOPARD. Tuning the out fill systems [ULTRA-X40] on both
the production models became available in time to do so.” stages was quick and easy.”
In addition, ULTRA-X40 loudspeakers are deployed as side fills At Denmark’s Roskilde Festival, ULTRA-X40 loudspeakers
in a smaller room at CenterStaging, a rehearsal facility in Southern were widely deployed for delay and front fill support, and also
California. “The new ULTRA-X40 with the 750 subs is an amazing served as reference monitors at FOH mix positions. A pair of
combination. It’s just tearing that room up,” says general manager ULTRA-X40 loudspeakers also accompanied the recently con-
James “Jimbo” Neal. “For its size and weight, the ULTRA-X40 cluded North American tour of Latin star J Balvin, again as FOH
is an amazing box. I can see where it will be a game-changer for monitors. “The ULTRA-X40s give me an exceptionally accurate
Meyer in small session rooms and the corporate world.” representation of the main arrays,” says FOH engineer John
Corporate rental companies have adopted the ULTRA-X40, Buitrago. “They have been extremely helpful when there is high
including Danish partner ShowTech Event Group, which inte- crowd noise, and especially during the B-stage segment of the
grated the new loudspeakers into systems for Copenhagen show when the large inflatable props often come between me
Fashion Week last August. ULTRA-X40 also made its nightclub and the main arrays. The transition between the two sources
debut at Zappa in Tel Aviv, Israel, with seven of the loudspeakers is seamless.”
installed along with new UPQ-D2 systems. “Moulin Rouge! The Musical” marks the first use of
For the 2019 edition of the Montreux Jazz Festival, ULTRA-X40 ULTRA-X40 on Broadway. When the production moved from
systems served as the mains for two of the smaller venues, La Boston to New York, the team wanted to incorporate more
Coupole at the House of Jazz and Terrasse ibis MUSIC. La Coupole lower-profile speakers to allow better sightlines. ULTRA-X40
hosted jam sessions into the wee hours, with participants includ- was ideally suited to the role. “The set designers said, ‘wouldn’t
ing Janelle Monáe, Rag’n’Bone Man, Lizzo and Jon Batiste. it be great if it was a small loudspeaker?’” says sound designer
Precise coverage control was a key factor due to the 1 am to 5 Peter Hylenski. “I said, ‘great, but it has to do a certain job. It
am time slot, according to FOH engineer Fanny Gaudin. “Adding has to have enough power, has to have enough coverage.’ What’s
ULTRA-X40 to the kit, with its extended frequency response and amazing is you can go straight to a product like the ULTRA-X
dynamic range coupled with a horizontal rigging option, allowed and realize that it can do all of this in such a small package,
us to decrease the measured SPL by 5 dB compared to last year, and it makes the set designer happy, it makes me happy, and
yet eliciting even better audience response.” it makes the audience happy.”

44 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

RETURNING TO A WINNING FORMULA

Prior to the recent lockdown period, Japanese “android diva”

PHOTO CREDIT: BEN TURNBULL, CAPITAL SOUND

Hatsune Miku toured Europe again with production company
Proper Productions and Capital Sound (based in London) provid-
ing sound reinforcement with Martin Audio MLA loudspeaker
arrays.
Miku had previously toured Europe for the first time back
in late 2018. The three European dates were unique in that the
venues (including London Olympia) were diverse in size and
dimension, and that the performer, using a computer-generated
voicebank developed by Crypton Future Media, performed a
shrill, high-octane “thrash” metal repertoire. While Hatsune’s
vocals were triggered by Pro Tools, four musicians provided the
live backing over two hours of performance.
Developed in 2007, Hatsune Miku is actually a 16-year-old The view from behind FOH engineer Toshiaki Ueno for a perfor-
blue haired virtual persona seen onstage as a 3D hologram mance by Hatsune Miku, with Martin Audio MLA arrays flanking
projection. So successful was the 2018 tour that second time the stage.
around, confronted by a slightly larger five dates – starting at
the relatively small O2 Academy Brixton, ending at Sant Jordi
Club Barcelona, and taking in Zenith Paris and Ziggo Dome
Amsterdam along the way – Capital deployed largely the same
production support team. This was headed by crew chief, Amy
Newton-Smith and system tech Ben Turnbull, with Olli Fallon
providing monitor support.
The main PA incorporated 13 MLA elements and two MLD
Downfill elements, left and right, with 12 MLX subwoofers
in cardioid configuration along the front. Side hangs, where
required, consisted of six MLA Compact elements (redeployable
as delays) on each side, while six DD12 speakers on top of the
subs added front fills. Finally, a pair of Martin Audio XD12s on
stage were used for talkback.
One personnel change from the 2018 tour, however, was at
the FOH position, with sound engineer Toshiaki Ueno making
greater use of the sub complement from a DiGiCo SD10 mixing A production in full swing at Norway’s National Theatre, which is
console. “You couldn’t have wished for a better tour,” states now employing DPA 6000 Series mics for performers.
Paul Timmins of Capital. “It was undertaken without the need
for a tour bus, and the core Japanese production team blended A PROCESS OF TRANSITION
well with ours. MLA was the perfect choice because, thanks to
its high degree of control, Ben [Turnbull] was able to keep the Norway’s National Theatre in Oslo has been transitioning from
sound away from unwanted areas.” its DPA 4000 Series lavalier and headset microphones to new
Newton-Smith adds, “Everyone was so happy with the per- DPA 6000 Series miniature mics for reasons of small size and
formance of MLA last time, it was logical to use the same sys- the ability to withstand water.
tem—and once again it worked to perfection. Because the Kai Priddy, who for the last 14 years has been the theatre’s
venues were so different [in size and dimension] the rig was head of sound, says: “We started using the 6000 Series in 2019
reconfigurable. For instance Brixton required no side hangs and now have around 30 – mostly lavalier mics (6060 and 6061),
whereas in Amsterdam and Berlin we used the MLA Compacts but also some 6066 headsets. We started gradually phasing out
for that purpose.” our stock of DPA 4000 Series lavalier and headset microphones,
Turnbull used Capital’s drive system of Lake LM44 processors which we have been using for many years, and replacing them
at FOH feeding two Focusrite D16 AES units via Dante over fiber, with the new subminiatures. The fact that the 6000 headsets
with one on either side of the stage. He adds that as with the are physically smaller is preferable visually, plus their resis-
previous London show in December 2018, the Japanese produc- tance to water does prevent sweat droplets from getting onto
tion team had been delighted with the performance of MLA for the membrane. As most sound techs know, this can be very
this unique, crowd-created virtual talent on the touring circuit. annoying and potentially ruin a performance.”

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 45

 WORLD STAGE

The National Theatre dates back to 1899 and has three stages
of varying sizes, with the main stage seating approximately
750 people. It also has a satellite location, the Torshov Theatre,
which adds a fourth stage.
“We’re a well-established stage and well known as one of our
country’s most important theatre venues,” Priddy notes. “We
have welcomed an average of 250,000 visitors each year, spread
out over 30-50 productions, and about 1,000 performances in
total every year. Our productions cover all genres, including
classical theatre and musicals, as well as experimental/modern
theatre, award ceremonies and concerts for live TV.”
The decision to try DPA’s new 6000 Series was taken when
the theatre realized it didn’t have enough 4000 Series mics to
cover three large productions that were all taking place at the
same time. “We needed more mics, so we tried out the 6000
Series and found them to be an improvement over the 4000 Sound mixer Jon Mendel in the field with some of his Lectrosonics
Series,” Priddy says. “Our FOH sound engineers think they gear.
sound even better, with a cleaner high end, and our A2s (wireless
technicians) are also happy with them.” we’re doing shoots as distanced as possible. That’s why I love the
The theatre’s first production to use the 6000 Series was dual batteries in the SMDWB and SMQV transmitters — they
Shakespeare in Love, which opened at the end of 2019. A total last forever. I will use the SMV, which has a single battery, if I
of 18 actors were fitted with 6061 lavalier microphones, while need a transmitter that’s physically tiny.”
the lead male actor was given a 6066 headset because, for various Range was a key requirement on the recently wrapped “Kings
costume reasons, this was easier to secure. of Kush,” a reality show about hemp farming with a celebrity
“We also used 6060 lavaliers (two for redundancy) on our presence: “Anthony Sullivan, the infomercial guy, found that CBD
Stage 2 production Havboka (The Ocean Book), which is a sin- was the only thing that relieved the side effects of a medication
gle-actor monologue piece,” Priddy adds. “We tried 4060 mics his daughter needs. Long story short, he was so impressed he
for rehearsals but switched to 6060s because they were better bought an entire farm called MontKush and we filmed a show
at coping with water droplet issues and were perfect for this there for more than 40 days straight. I was part of an outdoor crew
situation. We were very happy with their performance.” that would film conversations of these hemp farmers, employees,
and ‘Sully’ himself from 20, 30, sometimes 50 yards away. We
SATISFYING DEMANDS IN THE FIELD got crystal-clear audio the entire time without using distributed
antennas — just the little whips on the receivers themselves. Most
Burlington, VT-based sound mixer Jon Mendel regularly uti- of the time, the output setting of 100mW was enough for this, but
lizes Lectrosonics Digital Hybrid Wireless gear for a range of if we really needed punch, the SMQV can go to a quarter-watt.”
projects that include a reality TV show about infomercial star On another Woodward shoot, Lectrosonics’ infrared trans-
Anthony Sullivan farming legal hemp, a web series in which mitter-receiver pairing helped him meet the challenge: “For
kids win scholarships to prestigious athletic camps, and more. one episode in New York City – which is already a crazy RF
Specifically, his toolkit includes Lectrosonics SRC and environment – the scholarship was going to a talented young
UCR411a receivers, SMQV and SMV transmitters, SMDWB gymnast in Harlem. She was on the way to meet her coach,
wideband recording transmitters, and IFBT4 transmitters paired who was going to give her the big surprise. I had scanned for
with IFBR1a receivers for monitoring. “Lectrosonics has firmly frequencies ahead of time, of course, but later we found out
supplanted any other wireless gear I started out with when I there was a National Guard base nearby. Military radio is noto-
got out of college,” says Mendel. “I resolved to save money and rious for eating up spectrum. Suddenly, I have nothing from
make the jump to Lectro as soon as I could, because I knew that her coach, and the kid is walking in the door in less than five
owning broadcast-quality equipment would make a difference minutes. I was able to scan for a new frequency, bring the coach
in the gigs I got. I bought my first Lectrosonics piece about five in, re-pair her transmitter, and get back up and running inside
years ago, a used UCR411a.” of 30 seconds or so. That was crucial, because delaying anything
Mendel’s client-based work demands four main things from would have ruined the surprise.
the audio department: “Reliability, range, durability, and sound “I don’t use IFB that often,” Mendel concludes, “but when I
quality,” he explains. “You have to turn it on and it just has to do, it’s on reality shows with multiple producers. Lectro just
work without a lot of fiddling. At the best of times, you don’t came out with the R1B but I still love the older R1A. This is
want to mess around adjusting a transmitter on the talent’s another situation where it just needs to work, because if those
body. With Covid-19, that’s now a hundred times as true because producers can’t listen in on every little word and bit of drama

46 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

between the talent members, they don’t care about why. Again, double LP. In the years that followed, the El Mo hosted U2,
I always get crystal-clear audio with no problems. I’m working Pat Benatar, Stevie Ray Vaughan, Cheap Trick, Blondie, The
towards an all-Lectro rig, and the next items on my wish list Ramones, Sum 41 and numerous others.
are an M2 Duet digital IFB setup and the DCHT digital stereo Now owned by Michael Wekerle, a Canadian financier and
transmitter for camera hops. television personality, the revamped building has been restruc-
tured as a content creation center where performances on both
NEW DIRECTIONS FOR A CLASSIC floors as well as the backstage area can be mixed through the
SSL L550 simultaneously for recording and streaming. “We
Toronto’s El Mocambo live music venue is set to reopen following have three performance areas – FL1, FL2 and our green room/
a five-year, multi-million-dollar renovation which has seen the dressing room – that are all connected to our control room.
building – originally constructed in 1910 – completely gutted Inside the control room there’s a video control room, an audio
and rebuilt with three live performance spaces connected to an control room and an isolation booth,” Howieson explains.
audio broadcast and recording control room equipped with a FL1, on the lower level, accommodates an audience of up to
Solid State Logic (SSL) Live L550 digital console. 350 while FL2, on the upper floor, has a capacity of 450 and
“It’s not quite a club anymore. It’s an event space with a very includes a large balcony. Howieson continues, “We have 98 tracks
beautifully designed interior inside a broadcast facility,” says to Avid Pro Tools HD at 24 bits, 192 kHz. I have 32 channels of
Jamie Howieson, executive designer and production manager at mic preamps downstairs and 64 channels on floor two. I’ve got
the venue, which has long been affectionately referred to as the all the remote preamps running MADI, point to point, with no
El Mo. “The main reason I went with the L550 desk is because, patching in between. We also have the ability to capture five 4K
when I was using it in the past, I never heard a better combina- video images.”
tion of preamp, clock and converter in a live console, ever. I got The L550’s onboard digital effects and processing is comple-
a lot of time with it when I was touring with Mumford and Sons. mented by a rack of outboard analog mic preamps and tube devices.
And with my age-old history of using SSLs in some of the control Over two and a half miles of cabling were installed to support the
rooms I’ve worked in the past, I knew it was the right desk for facility’s audio, video, lighting and internet infrastructure.
this design. With the remote preamps it was no-brainer.” Wekerle engaged WSDG (Highland, NY) to design the new
First opened as a music venue in 1948, the El Mocambo hosted performance and production facilities together with the acous-
a who’s who of blues and jazz artists in its early days, including tical and systems integration design elements of the complex.
Marilyn Monroe, Buddy Rich, Buddy Guy and Muddy Waters. WSDG also supervised construction. “We’re proud to have been
But it was two surprise shows in 1977 by The Rolling Stones, involved in creating the architectural and acoustical spaces at
billed as The Cockroaches, that put the venue on the rock ‘n’ roll the El Mocambo to enable the recording and broadcast of world-
map. The band’s first live performances in 14 years, recordings class performances,” says John Storyk, founding partner/COO
from the shows were released on one side of the ‘Love You Live’ of WSDG. “We look forward to its success.”
Where live music broadcast production
facilities more typically feature a large-for-
mat multitrack recording console, Howieson
figured that touring engineers would be
more comfortable with a familiar live desk.
“The L550 is a great broadcast console. I can
have the guys on the road sit down in front
of the L550 and mix, instead of sitting at
an SSL 9000 with a house engineer, telling
them to turn the kick down or the snare up.
I even had one guy send me his file and we
transposed his mix onto the desk from the
offboard software, so all his inputs showed
up where he normally had them.”
Howieson has programmed the desk’s
three Solo Channel buttons to select
between the ATC SCM100ASL Pro main
monitors, ATC SCM25A Pro nearfields and
small Auratones. “You can send whatever
buses you want to those three soft but-
The new audio broadcast and recording control room at El Mocambo equipped with a tons, so why not mix two bands at once?”
SSL Live L550 console. he says. LSI

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 47

 First Look
ADAMSON CS-SERIES
Detailing a gle network cable.

new series of Meanwhile, the

PDS is desi g ne d
loudspeakers to ensure that all
CS-Series systems
packing a lot of receive ample
power, regardless of
facilities. region, and it also
allows the user to
by Live Sound Staff monitor consump-
Adamson CS7 enclosures atop a CS118 subwoofer (left) & CS10 tion data, both
enclosures atop a CS119 subwoofer. per power output

T
he new Adamson Systems Engi- as well as overall
neering CS-Series brings the comprised of the compact CS7 two-way, draw. And, the CS Bridge is designed to
performance of the company’s full-range array enclosure; CS7p point- replace existing network infrastructure
compact S-Series loudspeakers into the source enclosure; and companion CS118 in Adamson’s E-Rack, allowing users to
networked realm with onboard amplifi- subwoofer, along with the sub-compact integrate the CS-Series into their exist-
cation and DSP plus Milan-ready AVB CS10 two-way, full-range array enclosure; ing inventories by converting dual-LAN,
connectivity. Rounding out the new series CS10n narrow-dispersion array enclo- Milan-ready AVB signal to AES/EBU while
are a suite of CS rack-mounted systems sure; CS10p point-source cabinet; and also offering six channels of DSP per unit.
and dedicated CS software. companion CS119 subwoofer. Finally, Adamson’s new CS software is
CS-Series loudspeakers are available as CS-Series loudspeakers offer the same set up to enhance the ability to design,
stand-alone products or as an upgrade to form factors as their S-Series counter- deploy, control, and monitor systems in
existing S-Series enclosures. They offer parts, and their compatible sonic signa- mobile and installed environments with
built-in network redundancy contained tures are designed to be uniform with a simplified workflow and easy-to-navi-
in a single cable to relay audio and control the S-Series and IS-Series to help ensure gate user interface that moves logically
signal, as well as long-term viability as scalable configurations for applications from design and simulation through to
part of an IEEE standard. ranging from portable corporate events to patch, control, metering, optimization,
“The CS-Series is the product of years touring and installed systems. The turn- and diagnostics.
of engineering and innovation, and we’re key CS Upgrade Kit allows any existing Drawing from early experiences with
proud to now offer this sophisticated S-Series cabinet to be converted to a CS the products, veteran system designer
solution with simple, straightforward model by removing four screws, connect- and FOH engineer Patrick Demoustier
operation and the audio performance the ing the CS Jackplate with the provided (Simple Minds, Night of the Proms,
industry has come to expect from Adam- wiring connectors, and switching the Rock Werchter) says, “The CS-Series is
son,” says Brian Fraser, Adamson head of front grille. already the future of networked audio.
product and technology. Also included are four The CS7p offers an incredible power- and
“The CS-Series offers net- rack-mounted products, headroom-to-size ratio and the proven
worked audio with precise including the CS Gate- sound quality of Adamson’s line array
control and monitoring way, a 16 x 16 matrix systems. We’ve used it with great success
of each individual enclo- with 16 channels of DSP on many corporate events, fashion shows,
sure to maximize per- containing dual-L AN, and car shows and as front fills and delays
formance. We’ve spent Milan-ready AVB, AES/ with larger systems; meanwhile, the CS7
the time and resources EBU, and analog connec- is probably the most powerful ultra-com-
to ensure reliability and tions. Further, the NDS pact array enclosure out there. When I
redundancy in order to is a network and analog first used it, I was sure that the limiter
provide bulletproof oper- patch bay that allows settings weren’t correct – so much power
ation in any configuration users to send redundant and body from such a compact speaker
or application.” Adamson CS10p & CS7p audio and control to CS without even being close to the limiter
The new CS-Series is point-source loudspeakers. loudspeakers on a sin- threshold. But I was wrong…” LSI

48 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 Real World Gear

EXTREMELY VOCAL
Condenser
and dynamic
microphones
to capture live
singers.
by Craig Leerman

T
here are dozens of types and
styles of microphones on the
live audio market, and many can
be used in both voice and instrument
applications. For the most part, we tend
to classify mics based on how they turn
sound waves into electrical signals, with
two types – dynamics and condensers –
employed most often for vocals.
Dynamic designs work on the electro-
magnet principle where a coil of wire is
attached to the diaphragm and moves A variation of the condenser is the elec- Handling noise is another issue. As
by a magnet, creating electricity as the tret, which uses a fixed charge on one it’s moved around, noise from the mic
sound waves push against the diaphragm. of the plates. These designs also require body can get transmitted to the capsule.
They can be very rugged and resilient to power. Advanced capsule isolation to curtail this
rough handling, and many can handle Higher-end models often have added issue is a hallmark of well-designed units.
high sound pressure levels. However, features to benefit vocals. One phenom- Frequency response is another aspect
because there’s added mass attached to enon that comes into play is proximity to consider. A model may specifically be
the diaphragm, they may not respond as effect – as a singer gets right up on the designed with a reduced frequency range
quickly to changes in sound pressure as mic, the lower frequencies become more that better suits voices, or in some cases,
other types. pronounced. On one hand, it can fatten there are boosts and/or cuts at certain
Condenser designs have two plates up a thin voice, but on the other hand, it frequencies that can help a vocal better
with a voltage between them. One plate can make add mud and change a singer’s stand out in the mix. There can also be
is made of a very light and flexible mate- tone as he/she moves closer and farther the ability to tailor (via switches) the
rial, and acts as the diaphragm. The dia- away from the mic. Many premium vocal response of the mic for particular voices.
phragm vibrates when struck by sound mics address this issue with acoustic tun- Experimentation is the key, as differ-
waves, changing the distance between ing, low-cut switches, and even electronic ent designs are better suited to differ-
the two plates, which in turn changes processing so the singer’s voice stays ent vocalists (and their particular vocal
the capacitance, producing an electrical more consistent. styles). What works great with one singer
signal. Vocal mics should be designed to deal may not be the best choice for another.
They don’t have the added mass of a with “pops and plosives,” the breath Enjoy the following round-up of recent
coil attached to their diaphragms and noises that happen when a singer uses microphones for live vocal applications.
tend to be more sensitive to softer a hard consonant like a P or B. Models LSI
sounds and higher frequency details than designed specifically for live performance
dynamic mics. Condensers require power, have windscreens, but the better vocal Senior contributing editor Craig Leerman
usually supplied by phantom power from models tend to use multi-stage or layered is the owner of Tech Works, a production
a console or a battery. screens to reduce the problem. company based in Reno.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 49

 REAL WORLD GEAR
Condenser

Electro-Voice RE420 DPA Microphones 2028 Sennheiser e 965

electrovoice.com dpamicrophones.com sennheiserusa.com

Type: Self-biased condenser Type: Condenser Type: Condenser

Polar Pattern: Cardioid Polar Pattern: Cardioid, Supercardioid
Polar Pattern: Supercardioid
Frequency Response: 50 Hz to 20 kHz Frequency Response: 40 Hz to 20 kHz
Frequency Response: 20 Hz to 20 kHz
Sensitivity: 5.6 mV/Pa Sensitivity: 7 mV/Pa
Sensitivity: 5 mV/Pa
Maximum SPL: 149 dB Maximum SPL: 142 dB
Maximum SPL: 160 dB
Dimensions: 7.6 x 1.95 inches Dimensions: 7.8 x 1.9 inches
Weight: 11.5 ounces Dimensions: 7.4 x 1.9 inches Weight: 14 ounces
Of Note: Selectable high-pass filter Weight: 10.1 ounces Of Note: Switchable pick-up pattern; low-
reduces undesirable low-frequency Of Note: Adaptability to all major wireless cut and pre-attenuation options; large
content when engaged systems diaphragm

Audix VX5 Audio-Technica Artist Elite AE5400 Shure KSM9

audixusa.com audio-technica.com shure.com

Type: Pre-Polarized Condenser Type: Condenser Type: Condenser

Polar Pattern: Supercardioid Polar Pattern: Cardioid Polar Pattern: Cardioid, Supercardioid
Frequency Response: 40 Hz to 16.5 kHz (switchable)
Frequency Response: 20 Hz to 20 kHz
Sensitivity: 5 mV/Pa Frequency Response: 50 Hz to 20 kHz
Sensitivity: 10.0 mV/Pa
Maximum SPL: ≥140 dB (w/ -10 pad) Sensitivity: -51 dBV/Pa
Maximum SPL: 147 dB
Dimensions: 7.1 x 1.8 inches Maximum SPL: 152 dB
Weight: 8 ounces Dimensions: 7 x 2 inches Dimensions: 7.52 x 1.9 inches
Of Note: Well suited to capture acoustic Weight: 11.6 ounces Weight: 10.6 ounces
instruments such as guitar, woodwinds, Of Note: Integral 80 Hz high-pass Of Note: Dual gold-layered, low-mass
brass, percussion toys, drum overheads, filter for switching from a flat frequency Mylar diaphragm; available as wireless
hi-hat and piano response to a low end roll-off handheld transmitter SKUs

Neumann KMS 105 beyerdynamic TG V96 Earthworks SR314

neumannusa.com north-america.beyerdynamic.com earthworksaudio.com

Type: Condenser Type: Condenser Type: Condenser

Polar Pattern: Cardioid
Polar Pattern: Supercardioid Polar Pattern: Cardioid
Frequency Response: 20 Hz to 30 kHz
Frequency Response: 20 Hz to 20 kHz Frequency Response: 20 Hz to 20 kHz
Sensitivity: 10 mV/Pa
Sensitivity: 4.5 mV/Pa Sensitivity: 4 mV/Pa
Maximum SPL: 145 dB
Maximum SPL: 150 dB Maximum SPL: 150 dB (@1K) Dimensions: 7.1 x 1.6 in
Dimensions: 7.1 x 1.2 inches Dimensions: 7.3 x 1.8 inches Weight: 1.5 pounds
Weight: 10.6 ounces Weight: 11.6 ounces Of Note: Extended flat frequency
Of Note: Electronic compensation used Of Note: Specially shaped back plate response; available in three body versions
to control proximity effect; low self-noise; electrodes help optimize diaphragm vibra- (stainless, black/stainless screens, black/
high-pass filter tions; 5-stage pop protection black screens)

50 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

Dynamic

Sennheiser e 945 Telefunken M80 Shure KSM8 Dualdyne

sennheiserusa.com t-funk.com shure.com

Type: Dynamic Type: Dynamic Type: Dynamic

Polar Pattern: Supercardioid Polar Pattern: Supercardioid Polar Pattern: Cardioid
Frequency Response: 40 Hz to 18 kHz
Frequency Response: 30 Hz to 18 kHz Frequency Response: 40 Hz to 16 kHz
Sensitivity: 2 mV/Pa
Sensitivity: 1.4 mV/Pa Sensitivity: -51.5 dBV/Pa
Maximum SPL: N/A
Maximum SPL: 135 dB Maximum SPL: N/A
Dimensions: 7.3 x 1.85 inches
Weight: 12.87 ounces Dimensions: 7.2 x 1.9 inches Dimensions: 7.4 x 1.9 inches
Of Note: Presence boost for improved Weight: 13.1 ounces Weight: 11.6 ounces
intelligibility; shock-mounted capsule; Of Note: Low mass; thin yet rugged Of Note: Patented cartridge design with
supplied with carrying pouch and mic capsule membrane; available in a range of two ultra-thin diaphragms (one active and
clamp finishes and custom colors one passive) and inverted airflow system

Audio-Technica Artist Elite AE6100 Electro-Voice ND96 CAD Audio D90

audio-technica.com electrovoice.com cadaudio.com

Type: Dynamic Type: Dynamic Type: Dynamic

Polar Pattern: Hypercardioid Polar Pattern: Supercardioid Polar Pattern: Supercardioid
Frequency Response: 60 Hz to 15 kHz Frequency Response: 30 Hz to 15 kHz Frequency Response: 50 Hz to 16 kHz
Sensitivity: 1.7 mV/Pa Sensitivity: 3.3 mV/Pa Sensitivity: 2.8 mV/Pa
Maximum SPL: N/A Maximum SPL: >140 dB Maximum SPL: >150 dB
Dimensions: 6.97 x 1.9 inches Dimensions: 6.7 x 2 inches Dimensions: 7.5 x 2.1 in
Weight: 10.9 ounces Weight: 11.4 ounces | Of Note: Selectable Weight: 18 ounces
Of Note: Back-cavity assembly “floats” voice presence booster reduces certain Of Note: Trueflex diaphragm and Pow-
inside the handle shell for more low-mid frequency areas and emphasizes erGap high-gauss neodymium magnets
isolation from handling noise key upper-midrange vocal presence areas contribute to high yet articulate output

AKG D5 Heil Sound PR 35 beyerdynamic TG V71G

akg.com heilsound.com north-america.beyerdynamic.com

Type: Dynamic Type: Dynamic Type: Dynamic

Polar Pattern: Cardioid, Supercardioid Polar Pattern: Cardioid Polar Pattern: Hypercardioid
Frequency Response: 20 Hz to 17 kHz Frequency Response: 40 Hz to 18 kHz Frequency Response: 35 Hz to 18 kHz
Sensitivity: 2.6 mV/Pa Sensitivity: 2.26 mV/Pa Sensitivity: 3.2 mV/Pa
Maximum SPL: >160 dB (calculated) Maximum SPL: 140 dB Impedance: 420 ohms
Dimensions: 7.29 x 2 inches Dimensions: 7.7 x 2 inches Dimensions: 7.3 x 2.1 inches
Weight: 11.3 ounces Weight: 9 ounces Weight: 12.2 ounches
Of Note: Patented laminated Varimotion Of Note: 1.5-inch shock-mounted hum- Of Note: Progressively damped capsule
diaphragm helps foster a “crisp” sound bucking voice coil helps ward off handling suspension for reduced handling noise;
that cuts through the mix noise and electronic interference compensated proximity effect

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 51

 Loading Dock PRODUCTS FRESH OFF THE TRUCK

Dynacord MXE5
The first model in the company’s new MXE matrix
mix engine series is a 24 x 24 crosspoint audio matrix
offering both routing and mixing functionalities, with
12 analog mic/line inputs and eight line outputs. It
incorporates DSP, with sampling rate stated as 96
kHz and audio latency as less than 0.22 milliseconds. Onboard are 24 channels of input and output processing such as zone mixing,
dynamic EQ, delay, compression, limiting, ducking, de-essing and more. Future additions will include free DSP configuration, auto
mixing, a task engine, Acoustic Echo Cancellation (AEC), Automatic Gain Control (AGC) and Ambient Noise Control (ANC). Designed for
large-scale live and fixed install applications, it can also serve as a communications hub for all IP-based peripherals and provide
supervision of all system-wide commands. In addition, it works as both a system manager and an OCA controller with monitoring
and supervision abilities, and can also serve as an FIR-Drive loudspeaker controller. Third-party integration is enabled via plugins to
upgrade existing systems for enhanced performance, starting with a plugin for Q-SYS. The MXE5 also incorporates the entire network
infrastructure, with Dante audio transport, AES70-compliant control and no requirement for retrofitted external cards. And, it inte-
grates with Dynacord SONICUE sound system control software. dynacord.com

d&b audiotechnik Soundscape Audio-Technica Wireless Manager

Tools v1.1.1
The company has The recent update
added tools designed of the company’s
to enhance the per- Mac OS/Windows
formance capabilities application for remote
of the Soundscape configuration, control,
immersive audio plat- monitoring, spectrum
form that’s comprised management, and
of three elements: the frequency coordina-
DS100 Signal Engine (hardware); En-Scene, an object-based posi- tion of compatible
tioning tool; and En-Space room-emulation software. The latest A-T wireless devices
update includes Scenes with hardware-based scene memory software includes
capabilities within the DS100 and for the Soundscape software improved usability, layout and control; enhanced scrolling
platform; two new room signatures within En-Space; and a config- capability; improved visibility of all frequency coordinated
urable “spread factor” for function groups in En-Scene. Scenes devices; updated and expanded channel list reports; upgraded
enable snapshots of all DS100 and Soundscape parameters user tools; and minor bug fixes. The software is compatible
(Matrix/En Scene and En Space) to be stored within the DS100 with Microsoft Windows 8.1, 10; macOS High Sierra (Version
hardware memory. Users can create scenes in R1, d&b’s remote 10.13), macOS Mojave (Version 10.14). The software is compat-
control software, offline without the DS100 for later transfer to ible with all wireless devices operating in the UHF spectrum.
the DS100 hardware memory. These scenes can be recalled from For those who have A-T Wireless Manager previously installed,
there using R1 and also via OSC commands. There’s also expand- the software will be automatically updated. It’s available for
ed capabilities for the platforms Function Groups. dbaudio.com download from the company website. audio-technica.com

L-Acoustics L-ISA & Yamaha RIVAGE PM

The company’s immersive sound technology will soon be natively controllable via Yamaha’s lineup of RIVAGE PM digital mix systems,
including the newly launched PM5 and PM3, due to a DeskLink co-de-
veloped by the two manufacturers. As a feature of RIVAGE PM firmware
v4.0, DeskLink enables Yamaha’s newest consoles to be capable of
controlling L-ISA mixes, just like their larger siblings, the PM10 and
PM7. Within the RIVAGE PM desks, for every mono or stereo input
channel, direct control of L-ISA Objects or Groups will be available on
the console control surface and touch screens. The five main L-ISA
parameters – Pan, Width, Distance, Elevation, and Aux Send – will also
be stored for each object in the console Scenes, with dedicated recall
scope. l-isa-immersive.com, l-acoustics.com, usa.yamaha.com

52 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 Renkus-Heinz Iconyx Compact
Series 12/3-RN
A single array loudspeaker designed to provide integration
options in “medium-sized” applications common in the
house of worship, corporate, transportation, education,
and government markets. It offers the digital steering
performance of the Iconyx Series as well as high verti-
cal directivity in a narrow cabinet that fits aesthetically
into architecturally sensitive spaces. A new 12-channel
Waves Audio FIT digital amplifier powers a dozen 3-inch full-range, treated
A controller co-engineered by Waves and MIDI paper cone drivers, meaning that each driver has its own
control manufacturer MIDIPLUS to provide hands- amplifier and DSP channel. The new loudspeaker utilizes
on control of the eMotion LV1 Live software mixer, proprietary RHAON II beam-steering with the latest U.R.G.O
including tactile response of faders, knobs and beam algorithms, a movable acoustic center, multiple
buttons for mixer operations. It’s designed to beam opening angles and high-pass filtering of individual
function as an integrated 16-fader bank with the beams. Standard RN units have analog and AES inputs. renkus-heinz.com
LV1. This is made possible with 16 + 1 motorized
100 mm faders, each with Mute, Solo and Select Sennheiser Control Cockpit v4.0.0
buttons, a multi-function rotary control, and a dis- The latest version of the company’s soft-
play for each channel. Fader banks are controlled ware tool that’s designed to simplify con-
using eight dedicated layer switches for toggling trolling and monitoring large microphone
between the eight factory or custom layers in setups adds the ability to monitor the
the LV1. The channel rotary controls can be set to new SpeechLine multi-channel receiver
adjust preamp gain or pan per channel with the and the EM6000 receiver from the Digital
corresponding function label shown in the display. 6000 series, in addition to evolution
In addition, the 16 Select channel toggles can be wirelessG3 and G4, SpeechLine and Team-
set to “USER” mode to provide easy access to Mute Connect Ceiling 2 microphones. Control
Groups and user-assignable keys. The controller Cockpitalso also now offers a “location-based mute” functionality – all devices
weighs 4.5 pounds and can be fitted with rack ears in a room,for example, can be grouped and their mute switches synchronized,
to mount into a 19-inch 7U rack space. waves.com so that all devices can be muted and unmuted together. sennheiser.com

DiGiCo S-Series v2.6 Powersoft Duecanali &

Updated software for Quattrocanali
the company’s S-Series The company has
consoles, brings several extended two of its
new features to the S21 fixed install power
and S31, including control amplifier ranges with
of the A164D Wall LCD and the two-channel
A168D Stage for networked Duecanali 6404 DSP+D
audio in installations via and four-channel
the Dante 64@96 DMI and support for DMI-KLANG. The A164D Quattrocanali 8804 DSP+D. Both are equipped with (Audinate)
Wall LCD, a 16-input/4-output I/O expander, and A168D Stage, Dante networking architecture and onboard signal processing, as
a portable 16-input/8-output I/O expander, offer the connec- well as being able to deliver a stated 175 volts peak. Further, both
tivity of the original A164 Wall LCD and A168 Stage but with the include Powersoft’s trademarked switch-mode power supply with
addition of Dante connectivity. With a Dante DMI 64@96 card Power Factor Correction (PFC), Smart Rail Management (SRM) and
installed in an S-Series console, access to 64 channels of I/O bridgeable switch mode fixed frequency Class D output circuit
to or from the Dante network is provided. This allows control topology. They can integrate within a networking environment
of both racks and can be set to either be in Full Control mode through standard Cat 5-cabled and Wi-Fi networks. Remote access
or Receive Only mode in the audio routing menu. DMI-KLANG via the Armonía Plus allows for full operability, including monitor-
takes KLANG:fabrik’s immersive in-ear mixing core and re- ing and diagnostics, from a decentralized location via laptop, PC,
builds it with the latest FPGA technology to deliver immersive tablet or smartphone. The customizable interface integrates all
mixes of 64 inputs for 16 musicians. digico.biz devices in one screen. powersoft.it

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 53

 Loading Dock PRODUCTS FRESH OFF THE TRUCK

Audinate Dante AVIO

The addition of two models to this line of audio Audio Precision APx500 v6.0
adapters offer USB-C and Bluetooth connectivi- The latest version of the company’s audio measurement software which sup-
ty for use with Dante networks. The AVIO USB-C ports multiple simultaneous input types to enable the concurrent measure-
adapter allows devices with USB-C ports to deliver ment of up to 16 channels of digital and eight channels of analog audio data.
and receive two channels of audio with a Dante Multiple simultaneous input types, or multi-input, is the ability to activate
audio network. It’s a class-compliant USB audio a second input type on any APx modular audio analyzer, or APx515 analyzer,
device that requires no additional drivers and and make measurements simultaneously on analog and digital signals. With
works with any application, can be powered by two input types enabled – for example – analog for one or more reference
the connected device or via PoE, and it works with microphones and PDM 16 for an array of MEMS microphones — there will
common USB-C to USB-A adapters. When using be measurement results for every enabled input channel. In addition, the
PoE, it provides power pass-through for mobile sensitivity or gain function of digital microphones and other converters can
devices, enabling smartphones to remain charged be directly found via a new derived result, Sensitivity, which displays the RMS
while connected to a Dante network. The AVIO Level relationship between the analog and digital inputs. The multi-input
Bluetooth adapter provides wireless connectivity feature is available for use in both Sequence Mode and Bench Mode and sup-
to Dante networks for mobile devices and comput- ports all the essential measurements used for the analysis of microphones
ers and is suited for both playback from smart- and microphone arrays. New APx audio analyzers will ship with v6.0 software
phones as well as larger sound systems, and for and one year of software maintenance, effectively licensing that instrument
connecting networked speakers and microphones for APx v7.0 when it is released (in addition to any minor releases that occur
to conferencing software. audinate.com between v6.0 and v7.0). ap.com

Stage Tec 1.12 For AVATUS IP

The latest software upgrade for the AVATUS IP mixing console brings several fea-
tures and functions to the platform, including simultaneous operation of AVATUS
by two sound engineers. The virtual division of a console, which can also consist
of several physical buckets, takes place in blocks of 12 control strips each, which
make up one cassette. Both engineers have unlimited and independent access
to various functions, including their own SOLO and PFL functionalities, each in its
own control room. The new software is also designed to enhance performance
and response times. In addition, the talk functionality of the two command paths
can now be assigned to any user button. stagetec.com

Shure Microflex Advance

Additional models have joined the company’s conferencing audio ecosystem that includes
complementary software for design, management, and control. All are natively designed to
work with each other, with IntelliMix signal processing in either device-based or software
formats. With the introduction of the Microflex MXN5-C networked loudspeaker, along with
products like the new MXA710, MXA310, MXA910 networked mute button, Designer, SystemOn,
P300, and IntelliMix Room, the company can now provide the audio signal chain from input to
output. shure.com

54 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

MXE Series

MXE5
MATRIX MIX ENGINE

The MXE5 is the first member of the MXE matrix inputs and eight line outputs. At the same time,
mix engine series. The 24 x 24 crosspoint the MXE5 serves as a communications hub for all
performance audio matrix offers both routing and IP-based peripherals and provides comprehensive
mixing functionalities, with 12 analog mic/line supervision of all system-wide commands.

96
Delivering the highest audio quality
The MXE5 benefits from advanced DSP, providing outstanding audio
kHz
quality and dynamic range. This is ensured by a sampling rate of 96 kHz
SAMPLING RATE
and the industry’s lowest audio latency of less than 0.22 ms.

Ready for a wide range of applications

The MXE5 is designed for consultants, production companies,
specifiers and system integrators who demand the highest-quality
BGM and uncompromising live performance sound.

Built on comprehensive software

The MXE5 integrates completely with Dynacord’s SONICUE sound
system software, one of the most powerful software interfaces in the
industry, offering comprehensive control and easy, intuitive operation.

Made for mixing and routing

The MXE5 offers a variety of functions beyond being a powerful
crosspoint matrix; it also works as both a system manager and an OCA
controller with complete monitoring and supervision abilities.

#MatrixMixEngine
dynacord.com/mxe5
©2020 Bosch Security Systems, Inc.
 NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM

North, Central and South America. Macpherson will report to

Laurent Vaissié, CEO L-Acoustics, and Hervé Guillaume, CEO
L-Acoustics Group. Macpherson brings more than two decades
of managerial experience to his new role, primarily with Yamaha,
where he most recently served as vice president for Yamaha Cor-
poration of America’s Integrated Marketing Group in Buena Park.
In addition, the company has announced the promotion of BJ
Shaver to business development director for the installation
market and the appointment of William Cornell as business
development director for the rental market, both reporting to
Macpherson. Pictured below, left to right, are Alan McPherson,
BJ Shaver and William Cornell.

A year after taking delivery of the world’s first Wavefront Preci- Audio-Technica U.S. has named Kurt Van Scoy as its new
sion Longbow (WPL) system, Richmond, VA-based Soundworks executive director of product management and promoted Gary
has switched its entire inventory to Martin Audio with the Dixon to the position
addition of both 8-inch WPS and 10-inch WPC systems. of product manager.
Founded in 1976 by Steve Payne, Soundworks has a long Va n S c o y ( p i c t u r e d
affiliation with Southard Audio, led by Mike Southard in left) is responsible for
neighboring Harrisonburg, VA. In 2019, the two companies directing the product
jointly chose Martin Audio for the first time, becoming the very development/manage-
first WPL users, each company purchasing 24 WPL cabinets, ment efforts and is also
12 SXH218 hybrid subwoofers and 12 iKON iK42 amplifiers. overseeing quality con-
“We used WPL for the whole of last season and were just trol department. He’s
delighted with it,” says Payne. “We looked forward to every oppor- returning to the ATUS team after four years serving A-T as
tunity we had to use it but for smaller events we still had to use a global product manager, based in Japan.
smaller, older system that we had in our inventory. That was hard.” Dixon (pictured right) is charged with bringing a new level
Having sold that previous system, Payne was faced with the of depth and understanding to the product management team.
choice of adding either 8-inch WPS or 10-inch WPC enclosures In his previous position as sales engineer, Installed Sound,
to his inventory. “The WPC was the safe bet – that was the box he served as a technical resource for the ATUS sales channel
that convinced us to buy the WPL,” Payne notes. “But then we in the broad contractor market (installed sound contractors,
went down to Florida to hear the first WPS coming into the consultants and architects).
States and we were stunned. The WPS is not your daddy’s 8-inch
box – it’s a different animal. The whole series is seamless when DAS Audio of America has named
you move from one box to the next, the voicing is so similar. Carlito Cobos to the newly created
My solution was to buy both WPS and WPC. We bought 16 of position of national sales director/
each plus another eight SXH218 subs.” retail. Based at the company’s national
Pictured above are members of the Soundworks team with headquarters in Miami and bilingual
some of the new Martin Audio inventory, including (left to right) in English and Spanish, much of
Grant Howard (president), Steve Payne (CEO), Bryan Hargrave his focus will be on expanding DAS
(senior tech) and Jon Barrows (system tech). Audio through national e-commerce
channels as well as a more personal
approach with local audio dealers.
Cobos has more than 20 years of experience in pro audio
and the music industry. Prior to joining DAS Audio, he served
as the pro audio business development manager for Gibson
brands, where he overaw 12 international distribution firms.

Renkus-Heinz has appointed pro audio veteran Graham

Hendry to the position of vice president of strategic devel-
opment, where he is focusing on both product and market
L-Acoustics has appointed Alan Macpherson to head its newly development. He comes to the company with a professional
formed Americas division that encompasses sales, application, background encompassing engineering, product management
support, fulfillment and finance activities for all countries in and customer service roles.

56 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 The majority of Hendry’s career student-teacher interaction. The first four Smaart Online
has been spent with Tannoy and TC Labs that will be offered are Timing, Averaging, SPL Appli-
Group, where he began on the research cations and System Alignment. Some of the Smaart Labs are
and development engineering team in Level 2, meaning attendance is restricted to those who have
1990. After a stint in commercial inte- completed a Smaart Operator Fundamentals class, either
gration from 1998 to 2002, he returned in-person or online, and successfully passed Smaart Opera-
to Tannoy – and the brand’s ownership tor Level 1 Certification. Others are Level 1, and open to all
teams at TC Group International, and interested attendees.
later Music Group – in roles including Smaart Operator Fundamentals Live Online is a series of
engineering director, business devel- sessions that offers a unique, alternative approach to covering
opment director, vice president of solutions, and brand leader. the Smaart Operator Fundamentals course curriculum. Part self-
paced learning, part guided instruction, this course is designed
Celestion has appointed Dublin-based Professional Audio to supplement, and enhance, the information provided in the
Ltd. (PAL). as its new distributor for Ireland and Northern free Smaart Operator Fundamentals Online webinar series.
Ireland. PAL was formed 1990 by Gerry Forde originally to Over the course of a week, students will attend three separate
manage the market for Sennheiser and later Roland Corporation. 2-hour Zoom sessions, as well as review the online webinars and
“We’re excited to have Professional Audio Ltd. as our part- the Smaart v8 User Guide. Each Zoom session will include live
ners in Ireland and Northern Ireland,” says Neil McDougall, instruction covering specific content from the webinar videos
Celestion distribution sales manager. “Gerry and his team at and the User Guide, and provide supplemental demonstrations,
PAL have many long-standing relationships across the region in-depth discussions, and Q&A. The cost is $300 and includes
and we look forward to having them represent Celestion.” six hours of live online instruction, a coupon for the Level 1
Certification exam and discounts on the purchase of Smaart
Eastern Acoustic Works (EAW) announces that Aldridge software. Registration is limited to eight attendees. Find out
Marketing, based in Austin, TX has been appointed as its more and register at rationalacoustics.com.
manufacturer’s representative serving the states of Texas,
Oklahoma, Arkansas and Louisiana. SynAudCon has released two new online courses offering an
“Aldridge Marketing’s stellar reputation and proven results in-depth focus on equalization, both developed by Pat Brown
made them an obvious choice to be EAW’s representative in based on his 30-plus years of sound system tuning experience.
the South-Central U.S. region,” says TJ Smith, president of “Course 130 – Equalization” presents a systematic approach to
EAW. “We selected Aldridge because of their customer ser- system tuning, covering the core concepts of measurement and
vice as well as the company’s history of brand-building. We room acoustics,
look forward to working together with Aldridge in creating applying them
long-lasting relationships with our existing as well as new to the equaliza-
customers in the area.” tion process. The
course is designed
to improve pro-
ficiency on a
simple 1/3-oct
R TA a s w e l l a s
an advanced
PC-based measurement system. Cost is $299 (U.S.).
Meanwhile, “Course 210 – Advanced EQ” offers increased
breadth and depth, replicating the Course 130 material while
also presenting additional lectures that address the finer points
of measurement, filters, and the system tuning process. Addi-
Rational Acoustics has announced the launch of two new tional areas of focus are phase, group delay, wavelets, IIR and
series of online Smaart Training programs: Smaart Online FIR filters. The course is designed as prep for training on specific
Labs and Smaart Operator Fundamentals Live Online. measurement platforms. Cost is $399 (U.S.).
Smaart Online Labs are in-depth sessions on selected topics Go to prosoundtraining.com to find out more and to sign
that build upon the foundation established from the Smaart up for both courses. LSI
Operator Fundamentals course content. Each Lab is a private
2-hour Zoom session including demonstrations, discussion, ProSoundWeb provides all of the latest pro audio news,
and Q&A on the chosen topic. The cost is $100 per lab and and follow PSW on Facebook and Twitter – just go to
attendance is limited to eight attendees to ensure maximum prosoundweb.com and click on the icons at the top of the page.

www.ProSoundWeb.com JULY 2020 LIVE SOUND INTERNATIONAL 57

 Back Page

SOLID REFERENCE SOURCE

Evaluating “Introduction to Live
Sound Reinforcement.”
by Michael Lawrence

I
’m often asked to recommend a Ontario. It’s clear from the in-depth and
book for interested beginners to well-presented chapters on networked
get up to speed on the fundamen- audio that Boyce has extensive profes-
tals of live audio. Ever since I can remem- sional background in the field of data
ber, that recommendation has been the communications networking as well.
Yamaha Sound Reinforcement Handbook The writing is clear and strong yet
(Davis and Jones). It remains a crowning approachable. The book begins with the
achievement for its scope and clarity and obligatory explanations of wavelength,
holds a welcome spot in my library. frequency, inverse square law, logarithms,
There have been significant advances the decibel, and phase versus polarity, and
and developments since the most recent then moves through chapters on envi- ters dedicated to networked audio very
revision, and as time goes on, there’s more ronmental effects (diffusion, diffraction, well cover a topic that’s quickly becoming
and more “new ground” left to cover – for reflection, absorption, reverberation), “must-have” knowledge for those seeking
example, this thing called “digital audio.” input devices, output devices, intercon- a bright future in the industry.
(Perhaps you’ve heard of it.) When I men- nect, and amplifiers. There are also two The final chapters offer a brief look
tioned to my friend John Huntington, chapters dedicated to analog and digital at some of the basic principles of sound
author of the excellent book Show Networks mixers. I was pleased to see an actual system design, microphone applications,
and Control Systems, that I was looking for a explanation of the mechanics proximity and practical live performance tasks. Each
new “go-to” audio textbook to recommend, effect rather than the cursory proclama- chapter concludes with a list of review
he immediately mentioned Teddy Boyce’s tion of the effect’s existence that’s all too questions, helpful to check understand-
Introduction to Live Sound Reinforcement: The common in many other resources. ing for self-study, and also for educators
Science, the Art, and the Practice. The presentation is more than “bare who might be inclined to use the book as
After giving the book – now in its second minimum” and brings an additional level a class text – something I also feel com-
edition – a thorough read, I can say that of knowledge and context to the table. fortable recommending.
John’s suggestion is spot on. This is an For example, the book spends a few pages Overall, Introduction to Live Sound Rein-
excellent book for young folks, students, discussing amplifier topologies, which is a forcement is an excellent introductory text
and anyone else who is interested in live topic that’s not strictly required knowledge in addition to serving well as a “quick
audio but doesn’t know where to start. for one to be a successful live sound engi- reference” on anyone’s audio engineering
It’s also a fantastic “review” text for more neer but is definitely something that should bookshelf. The 373-page second edition
seasoned professionals and has some really be studied and understood by individuals is published by FriesenPress. Copies are
lovely nuggets tossed in that are bound to seeking a more complete understanding available directly from the publisher’s
interest even the most experienced readers. of our toolset. Likewise, there’s a short online store for $27.99 and on Amazon
Boyce, an AES member, holds a Master explanation of impedance-balanced and at a higher price. The ebook edition is also
of Science degree and has been actively servo-balanced outputs, which behave very available from Amazon, iTunes, and the
engaged in the live sound industry for differently when someone gets a little too Android store for $9.99. LSI
almost two decades. Like so many of creative with “roll-your-own” interconnect
us, he started from humble beginnings, solutions, so this is a nice inclusion as well. Michael Lawrence is an independent front
carting his PA to church youth choir con- There’s also an in-depth discussion of of house engineer and system tech, and he’s
certs – and eventually developed into various audio effects – not only what they also the technical editor of various pro audio
a go-to professional handling much of are and what they’re used for, but how publications. Read more from Michael and
the house of worship scene in eastern they work under the hood, and the chap- reach him at precisionaudioservices.com.

58 LIVE SOUND INTERNATIONAL JULY 2020 www.ProSoundWeb.com

 CS7

CS7p
INTRODUCING CS-SERIES
CS10

CS10n
THE REBIRTH
OF POWER
CS10p

CS118

CS119

Adamson has earned a reputation for sound systems that provide unparalleled performance, coverage,

and vocal intelligibility. The all new CS-Series is a powered, intelligent loudspeaker platform

with on-board Class D amplification and DSP, plus Milan-ready AVB connectivity.

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E X P L O R E C S -S E R I E S AT P O W E R . A D A M S O N S Y S T E M S .C O M