Acentech Spruces Up Venue

Aug 1, 2011, By Sarah Benzuly

The Spruce Peak Performing Arts Center, a 420-seat, 13,000-square-foot performance hall in Stowe, Vt., hosts a variety of music, dance and theater performances, as well as lecture and video presentations, and cinema screenings. Acentech (Boston) designed the A/V systems and acoustics of the space, which is particularly well-suited to unamplified and lightly amplified music gigs. ...

FixIt: Luke Bryan Monitor Engineer Ed Janiszewski

Aug 1, 2011

I have one musician who requests changes more frequently than the rest of the band. In the past, it meant flipping to his mix to make the changes. On the [DiGiCo] SD8, I have one of the three sets of assignable rotary encoders assigned to his mix, which means it’s always accessible without flipping banks or hitting a button, and I still have the other two sets of encoders for other purposes. Also, having two talkbacks is really helpful. I have one assigned to the crew mixes and one for the musicians...

Metric Halo to the Theater

Aug 1, 2011, By Sarah Benzuly

Paul Kavicky, owner/operator of Pater Street Audio Company (Columbus, Ohio), is working the FOH position for Threesixty Theater’s production of Peter Pan, which will run in four different cities for a total of 350 shows. In his home studio, he creates and records sound effects and voice-overs for theatrical work. New to his space are six Metric Halo FireWire interfaces with eight I/Os each: four 288s, an LIO-8 and a ULN-8. ...

Shocklee Brings JBL For Road Gigs

Jul 19, 2011

While a founding member of Public Enemy, Keith Shocklee has also racked up hip-hop production credits for the likes of Ice Cub, Paula Abdul and Janet Jackson, among others, as well as a principal and artistic leader of Power5, a global talent management and marketing/branding company. While on the road for his DJ gigs, he brings along his JBL PRX600 Series powered portable loudspeakers, while using LSR4300 Series studio monitors for writing and producing new music. ...

FixIt: Neon Trees Monitor Engineer Mike Bangs

Jul 1, 2011

We are sharing preamps between monitors and FOH and doing a digital split from the monitor console’s [Allen & Heath] iDR-32, so our FOH snake is just one Cat-5 cable. The second iDR-32 MixRack is currently being used for the FOH console’s DSP. That will change when we start headlining on our next tour. We will go with more stereo instruments for Neon Trees, and we will use the second iDR-32 to handle support band inputs without having to unpatch anything. Since the iDR-32 is basically the brains of the console, it’s all I need for a fly date. ...

Ribbons on the Road

Jul 1, 2011, By Steve La Cerra

Ask an engineer if they’ve used a ribbon microphone in a live setting, and you’re likely to get a reaction that goes something like “Are you out of your mind? ! ?” Old school. “Too delicate!” Hogwash. “Figure-8 patterns are impossible to deal with on a stage with loud instruments!” Poppycock. “Phantom power will blow it up!” Um, maybe if your cables aren’t up to spec. It was only a matter of time until the studio ribbon revival that started in the late 1990s would reach the stage. But is it really possible to use ribbons on a tour? Can they survive? Is their meek output level a problem? Read on. ...

Yamaha's StageMix iPad App

Jul 1, 2011, By Aaron Patkin

Yamaha’s StageMix is an Apple iPad app that allows live sound engineers remote control of a Yamaha M7CL Version 3 board’s mix functions via graphic interface from anywhere in a venue within a wireless range. To assist those new to using such apps for mixing or who want to dig deeper into what this app can do, Mix turned to Chicago-based audio engineer Aaron Patkin, who has used the StageMix on many shows—from live concerts to corporate events—at Viper Alley. ...

Start At the Source | Miking Vocals Onstage

Jul 1, 2011, By Eddie Mapp

Reproducing the human voice in a concert situation can range from extremely easy (throw up the fader and go) to quite complex, depending on a number of situations surrounding the vocal. Are you mixing a soft-spoken singer, an aggressive rock group with multiple lead vocalists, or a pop artist whose crowd comprises 20,000 young teenage girls screaming at SPL levels higher than anything you’d ever want to compete with mixing-wise? In all of these environments, getting the vocal out there and on top is key to your mix. ...

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