Live :: Applications
Jan 1, 2012,
By Chris Thomson
Sound reinforcement for events in hotels and convention centers has been a huge industry for many years. It goes through cyclical up and downs, like most corporate-related services, but right now it’s only getting bigger and more production-oriented. Ballroom events, meeting rooms, multipurpose venues, video conferencing, telepresence—they’re all proving a fertile ground for today’s audio school graduate. Often, professional A/V companies are the first employer for many of the students graduating today. ...
Jan 1, 2012,
By Tom Kenny, Editorial Director
When my younger daughter Jesse was in the fifth grade, her class at Thornhill Elementary in Oakland, Calif., put on an original musical based on Aesop’s Fables. Two moms had written it, one directing the action, the other playing piano and coaching the singers. I was asked to be the Tech Parent. We put four mics on the stage, with two speakers on sticks and a simple Mackie board at the rear of the cafeteria; my daughter was to be lighting director, running her own board on a riser. At the final rehearsal, I reminded the backstage team to show up dressed all in black.
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Jan 1, 2012,
By Sarah Benzuly
Jersey Boys, Billy Elliott, Phantom of the Opera, Les Miserables, Cats—Masque Sound has been integral to Broadway sound ever since three stagehands, in 1936, pooled their resources to create a new firm. Celebrating 75 years in the business under the leadership of third-generation owner Geoff Shearing, this SR/design/install company continues to expand its services, whether it’s a move to a larger space, purchasing Professional Wireless Systems in 2002 or adding a permanent systems install division.
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Jan 1, 2012,
By Sarah Benzuly
You’d be hard-pressed to not find a digital console on tour. Whether it’s employing snapshots, bringing in plug-ins to re-create an album’s sound, leaving behind racks of outboard or any other number of reasons, many touring engineers prefer to mix digitally. And each engineer has his/her techniques for creating a great-sounding mix. With this in mind, Mix asked some top live sound engineers to give us their tips on working with digital boards.
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Jan 1, 2012
Having the option of four compressors on each channel [of the Midas PRO9] that retain your settings as you scroll through is invaluable. The adaptive compressor is amazing on drums and percussion, and I’m using two multiband compressors, a pitch and a delay for vocals, with two plate reverbs for drums. The ability to sidechain either the compressor or gate from any channel is now a must-have for my mixing setup. Another great feature is the KVM switch that allows me to have my Mac Mini on the right-hand screen....
Jan 1, 2012,
By Sarah Benzuly
What began as a small audio production company, Audio Logic Systems (Bloomington, Minn.) now boasts full-service production and installation services, including the recently upgraded Bethel University’s (St. Paul, Minn.) Great Hall performance venue (pictured). According to director of operations John Simshauser, “The acoustical challenges of this highly reverberant space were minimized by the application of a d&b audiotechnik Q1 line array and a flown cardioid Q-sub array. The Q1 speakers are flown in a left/right main system with a center array covering the long throw to the balcony seats. The design maximized the visual impact of the system while maximizing the coherence of the audio system.”
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Jan 1, 2012,
By Sarah Benzuly
Christ Fellowship Church’s flagship Palm Beach Gardens worship center is the first U.S. facility to take delivery of the new L-Acoustics KARAi system, as well as installing SB18i enclosures. Designed in SOUNDVISION, the three KARAi arrays are flown in an L/C/R configuration concealed in soffits above the stage of the 2,200-seat octagonal sanctuary....
Dec 13, 2011
LMG Inc., a full-service provider of video, audio and lighting support, added a supply of the L-Acoustics K1 large-format line source to the firm’s audio inventory to support live events.
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