Tag Archives: Live Sound

Pro Sound News’ Top 5 Stories of 2021 (So Far)

PSN Top 5 Stories of 2021 (so far)Here are PSN‘s Top-5 most popular articles of 2021 so far, as ranked by Google Analytics. PSN has merged with Mix over at Mixonline.com; find us there, and also check out the revamped Mix weekday newsletter (get your free subscription at https://bit.ly/3gVh4Gf).

5. From Purge to Perfection: Illangelo on Producing The Weeknd’s After Hours By Keith Nelson. After selling off his studio gear in order to leave the music business, Grammy-winning producer Illangelo returned to the fold, spending a year working on The Weeknd’s hit album After Hours.

4. The Lost Treasure of Joe Meek’s Tea Chest Tapes By Steve Harvey. Legendary UK producer Joe Meek left behind nearly 1,900 tapes when he committed suicide in the 1960s. After sitting in storage for 50-plus years, the ‘lost’ tapes are being digitized in a mammoth 18-month project, saving unheard early work by David Bowie, Ray Davies, Ritchie Blackmore, Marc Bolan, Steve Marriott, Gene Vincent and more.

3. Audacity Acquired By Muse Group By Clive Young. Audacity, the long-running open source, cross-platform audio editor, has been acquired by Muse Group.

2. Pirate Sees Self-Service Studio Market for the Taking By Steve Harvey. Having conquered the UK, Pirate aims to build 4,000 unattended, self-service studios across North America by 2024.

1. Capitol Riot Loots, Damages Live Sound Systems By Clive Young. In January, rioters at the U.S. Capitol stole and vandalized live sound equipment that Maryland Sound International had onsite for the presidential inauguration.

 

 

 

Original Resource is ProSoundNetwork.com

PRO SOUND NEWS MOVES TO MIX

Dear Pro Sound News Reader—

PSN and Mix are merging. We are combining both iconic pro-audio news brands, bringing together the best features of each under the Mix name.

Starting in July, you’ll find all the great stuff you come here for—our Real-World Reviews, our trademark live sound coverage, industry analysis and more—over at mixonline.com.

To be clear, PRO SOUND NEWS is still bringing you the latest pro-audio coverage, just over at Mix. Same staff, same crucial news, different website and magazine.

PSN subscribers will start receiving Mix with its July, 2021 issue. Since we’re cramming two magazines into one, Mix will be growing in size, giving you even more to read and discover.

Also, starting July 6, the Mix SmartBrief email newsletter will increase to FIVE days a week to add all of PSN‘s coverage. Set up your free subscription now at https://bit.ly/3gVh4Gf so you can keep up on the latest pro audio news.

We’re looking forward to bringing you more of the great content you read PSN for, so we’ll see you in the pages of Mix!

Clive Young

Content Director, Pro Sound News (and now Mix!)

Original Resource is ProSoundNetwork.com

d&b audiotechnik Launches D40 Amplifier

d&b audiotechnik D40 Amplifier
d&b audiotechnik D40 Amplifier d&b auditoechnik GmbH & Co. KG

Backnang, Germany (June 23, 2021)—d&b audiotechnik has unveiled its new D40 four-channel Class D mobile amplifier.

Intended for mobile applications, the D40 is the mobile version of the 40D installation amplifier. Its user interface consists of a 4.3-inch (480 x 272 pix.) color touchscreen and a digital rotary encoder, providing information of the device configuration and status monitoring.

The D40 amplifier has a dynamic range of 116 dB (unweighted) and is designed to drive high-voltage d&b loudspeakers while providing management and protection capabilities. The D40 reaches 180 V peak, reportedly delivering full performance from d&b KSL System loudspeakers and V-Series and Y-Series.

Brooklyn Bowl Nashville is Ready to Roll

The D40 uses Digital Signal Processing (DSP) to incorporate loudspeaker configurations and user-definable setups, equalization and delay functions. Aiming to achieve a smaller environmental footprint, it also provides advanced voltage management to drive systems that demand less input power as a whole. The D40 includes enhanced energy saving features, power efficiency and Automatic Wake up for environmentally responsible and sustainable Green Building requirements.

d&b audiotechnik • www.dbaudio.com

Original Resource is ProSoundNetwork.com

Find Your Next Gig Now! The Complete ‘Sounding Board’ Series

Sounding Board: Networking From Six FeetAs the live sound sector gets back to work, working your connections to find your next gig has never been more important. Who’s left the industry? Who’s moved up in the world? Who’s looking for pros to fill spots right now? You need to work your network to find out—which means you need to read the ‘Sounding Board’ series.

This limited, eight-part series by audio industry veteran Mike Dias shows you specifically how to career network in the pro audio industry; this is not generic, ‘one size fits all’ advice from someone who doesn’t know a cable snake from a garden snake. Whether you want to find your next gig or just expand your professional network, here’s how to do it—read on!

Sounding Board: Networking From Six FeetIndustry veteran Mike Dias debuts his audio career column, looking at how live sound pros can approach the toughest job of all: networking.

Sounding Board: Networking Works When You Know Your PartMike explains why career networking works best when you know your part.

Sounding Board: 5 Steps to Become A Skilled NetworkerMike breaks down his five crucial steps to advancing your career through networking with peers.

Sounding Board: Know Who to KnowHere’s how to know who to know—and why that knowledge will help you get things done.

Sounding Board: Networking Without Audio Trade ShowsReal networking opportunities happen every day, all year, independent of time, space or location. Here’s how you can make them happen for you.

Sounding Board: Networking is Knowing How to Map Your ConnectionsMike Dias explains why networking isn’t just something you do when you’re looking for a job; it enables you to do your job.

Sounding Board: Networking in Three Dimensions — For networking to be effective, you need a simple way to document, store, and access contact information, your notes and records of correspondence—a CRM.

Sounding Board: Community Is Why We Network — Audio industry veteran Mike Dias closes out his ‘pro-audio career networking’ column with some final thoughts and thank-yous.

Mike Dias writes and speaks about What Entertainers Can Teach Executives and Why Nobody Likes Networking. He is the executive director for the In-Ear Monitor International Trade Organization and the vice president of sales for Earthworks Audio. He loves to trade stories, to talk shop, and to hear about your networking successes and failures! [email protected].

Original Resource is ProSoundNetwork.com

Opera Takes a Field Trip with Lectrosonics

(l-r) Brad Galvin (SCS Engineer), Nikolas Wenzel (Valhalla Media), Christopher Willis (Mix Engineer)
(l-r) Brad Galvin (SCS Engineer), Nikolas Wenzel (Valhalla Media), Christopher Willis (Mix Engineer)

Chicago, IL (June 21, 2021)—Lectrosonics’ D Squared line was in the mix when Chicago Opera Theater live-streamed La Hija de Rappaccini, a contemporary opera based on a Nathaniel Hawthorne story composed by Daniel Catán, this past April.

Chicago Opera Theater’s audio and video production partner Valhalla Media teamed with location audio experts Second City Sound on A/V support for the performance, which streamed from the Field Museum of Natural History, in keeping with the botanical theme. Lectrosonics DBSMD transmitter-recorders fitted to the cast members were picked up by a pair of DSQD four-channel receivers. DCHT portable digital stereo transmitters joined an M2T for monitoring by the conductor and mission-critical crew via M2R receivers.

“Midway through the pre-production process, we found out that the opera would be live at the Field Museum,” says Nikolas Wenzel of Valhalla Media. “This presented all sorts of logistical challenges for coverage. My first thought was that for reinforcement of the vocalists, we were going to need something stable, reliable, and easy to use between different levels of the museum. One of the performance levels was on the floor of the great hall and another was tucked off up to the side.”

Baseball-Themed ‘Rigoletto’ Covers Bases, Audience

“One thing viewers of the stream didn’t see was that the Field Museum was active and open to the public during the show run,” adds Gerry Formicola of Second City Sound. “This meant that everything had to be set up each day, then struck and stored. The fact that the Lectro system was so quick and easy to get up and running made a huge difference here.”

“I was the guy who had to deal with all of that,” comments audio director Brad Galvin. “Twenty, maybe 25 minutes and we were good to go every time.”

The wideband range of the D Squared hardware was even more key to ensuring the cast’s singing was captured without a hitch. “Chicago may not be the worst place in the country in terms of RF density, but it’s certainly not the best. So, the name of the game is bandwidth because you tend to spread channels all over the spectrum,” says Galvin, who first encountered Lectrosonics while working with Formicola on the Oprah Winfrey show. “I did all the control from the Wireless Designer software, which I’d never used before. I was amazed at how easy it was to use.”

Lectrosonics • www.lectrosonics.com

Original Resource is ProSoundNetwork.com

Sounding Board: Community Is Why We Network

Sounding Board: Networking From Six FeetWant a quick and easy way to figure out who’s in your first-degree network? Want to know who’s in your inner circle and who has your back? It’s simple. Look around when things go sideways, when things tank and go south. Your colleagues who are there for you when you’re down—when you get fired, divorced, jammed up or any other bummer—those are your people. Let’s refer to this core group as your network foundation. The people in this group are your rocks that everything else builds upon.

And being that we’ve all just gone through a global pandemic and have been hit left, right and center with the difficult and unexpected, what better time to take stock? I want you to really think about this. Who checked up on you during your darkest times? Who has been there in big ways and in small, both visibly and behind the scenes? Who has made community for you and provided the comfort and distractions that you needed?

Here’s why I want you to take a few minutes to do this mental exercise. For the last seven months, we’ve been talking about how to authentically expand your network—but before you can grow, you need to know where you’re starting from, and this is the perfect mirror for seeing where you are at. Don’t look outward without first looking inward. Who’s in your network foundation?

Try to identify everyone, then take a minute to thank them. You can do it silently or publicly. Expressing gratitude does two significant things. It lets you close the open loop on these last 15 months—and it provides a deep sense of warmth and community. Community is why we network.

Sounding Board: Networking in Three Dimensions

I’ll start, but as a quick disclaimer, I need to admit that my natural tendency is a bit of doom and gloom, and that at the very beginning of all this, I had some pretty challenging moments thinking that I’d made every bad career choice only to lead me into a dead end. I probably have a longer list than most of you; I needed a little more help. It took the love and support from family and the inspiration from friends to snap out of it all and to put my big-boy pants back on.

With great pleasure, I’d like to first thank every manufacturer and publisher who kept staff employed and every artist who kept crew on as long as possible. Huge thanks to the stimulus dollars and benefit programs that kept the economy afloat and to all the heroes who pivoted and did what they needed to do to take care of family and to stay sane. To all the pioneers and innovators, the broadcasters and live streamers, the hustlers and hitmakers—the ones who refused to take no for an answer—the future is yours and you all have my deepest respects.

On a personal level, I’d like to thank my wife and daughter for their patience and love, my employer for bringing me on during the pandemic and all the IEMITO members who continue to thrive under the worst of conditions. A special thank you to Ryan Huddleston for being a shining light during the very beginning and to James McCullagh for going down the rabbit hole with me. Russ Long, Tiago Costa, Greg McVeigh, David Hatmaker, Jason Batuyong, Kenny Sharretts, Andrew Bellavia, Ben Keys, and Moto Yamasaki always had perfect timing and collectively were there whenever I stumbled. And this list wouldn’t be complete without singling out Kevin Glendinning by name for his vigilant nearly weekly check-ins. With this network foundation, I feel like I can literally do anything. It’s like I have a team of the world’s most talented cheerleaders.

Speaking of community, there are three other individuals who need to be thanked publicly for going above and beyond; for literally creating the social fabric that held us together this last year. Courtney and Paul Klimson from Theory One Productions started The Roadie Clinic to ensure that touring professionals have a safety net, and Karen Dunn started an online “experiment” that Clubhouse only wishes it could tap into.

If you ever need great examples of marvelous networkers, look no further. Paul, Courtney, and Karen exemplify the motto of giving more than taking. They bring others together and create joy and value for everyone who’s along for the ride. Networking is not about who you know, it’s about identifying what you can give—and whenever things go badly, that’s the perfect time to give extra.

Mike Dias writes and speaks about What Entertainers Can Teach Executives and Why Nobody Likes Networking. He is the executive director for the In-Ear Monitor International Trade Organization and the vice president of sales for Earthworks Audio. He loves to trade stories, to talk shop, and to hear about your networking successes and failures! [email protected].

Original Resource is ProSoundNetwork.com

Brooklyn Bowl Nashville is Ready to Roll

A d&b audiotechnik Vi line array system brings concert performances to multiple floors—and 19 lanes of bowling—at Brooklyn Bowl Nashville.
A d&b audiotechnik Vi line array system brings concert performances to multiple floors—and 19 lanes of bowling—at Brooklyn Bowl Nashville. Rick Smith

Nashville, TN (June 18, 2021)—They say that bad things happen in threes, but for the team behind Brooklyn Bowl Nashville, two was more than enough.

“Our grand opening was scheduled for Friday, March 13, 2020,” recalls Carl Gatti, head of production for the venue. “After the first day of orientation on March 1, we had a horrible tornado come through North Nashville. Structures across the street and behind us were totaled, but our only damage was a broken window, some smashed patio furniture and a knocked-over HVAC on the roof. We encouraged staff to volunteer in the neighborhood for the cleanup, and pushed orientation to the following week—we still had the VIP grand opening party set for Friday night. Thursday, as we were finishing the video install and running some lines for lighting world, we got the call to send staff home because of the coronavirus. We got the double whammy.”

A full 16 months later, Brooklyn Bowl Nashville will hold its long-awaited grand opening June 25 and 26 with a pair of Old Crow Medicine Show concerts, finally seeing the 1,200-capacity venue throw open its doors to the public. Coming 12 years after the original Brooklyn Bowl opened in New York City, the new LEED-certified venue serves up live music, 19 lanes of bowling and a patio overlooking third base of First Horizon Park, the next-door home of the Triple-A Nashville Sounds baseball team.

Tour pros who pull up to the venue can expect to use an audio system outfitted with Avid VENUE S6L-24C consoles at FOH and monitor world, while the crowd is covered via a sizable d&b audiotechnik rig based around Vi8 and Vi12 speakers, Vi SUB and B22 subwoofers, and various Y10p fill speakers; monitoring includes a passel of M4 wedges, V-GSubs and V8 sidefills. Available miking includes usual suspects from Shure, Sennheiser and Audio-Technica, and a variety of Radial DIs are on-hand as well.

There’s also plenty of streaming gear in-house, all of which has been put to good use. “It ended up being our saving grace to get us through this pandemic,” says Gatti. Over the last year, the venue hosted major livestreams by Jason Isbell and the 400 Unit, Larkin Poe, Maren Morris, Margo Price and Billy Strings among others, and also became a movie studio for a day when Dierks Bentley filmed the video for his hit “Gone” there, using the stage for performance footage while commandeering the kitchen, bar and other areas to film send-ups of classic movies and sitcoms.

The livestreams will continue, but the venue’s looking forward to hosting live audiences—and bowling, which continues during shows. “The pins are on strings so they’re significantly quieter and dampened; you don’t hear pins crashing or being reset while the show is happening,” says Gatti. “Headliners go on around 9:30, play 90 minutes, maybe a two-hour set, and then while people are partying until we close at 2, we do what we call the Disco Load-Out.”

Original Resource is ProSoundNetwork.com

RAT Rolls L-Acoustics into The Vermont Hollywood

The Vermont Hollywood is home to North America’s first fixed installation of the new L-Acoustics K3 enclosure
The Vermont Hollywood is home to North America’s first fixed installation of the new L-Acoustics K3 enclosure.

Los Angeles, CA (June 16, 2021)—L.A.’s latest concert venue, The Vermont Hollywood, takes its unusual name from its location, North Vermont Avenue. Much like its name, the rest of the facility is a little different as well. First opening as a cinema back in 1939, the newly revamped space is now a 11,000-square-foot, multipurpose live performance venue capable of hosting 1,200 people, all of whom will be covered by a permanent L-Acoustics K3 loudspeaker system, supplied and installed by Camarillo-based RAT Sound Systems.

The venue, designed by Santa Monica-based Ryder Design & Architecture, features a 56-foot wide by 75-foot deep main room with a 30-foot-deep balcony, initially prompting RAT Sound to consider an L-Acoustics K2 or Kara system for the project. “In our early Soundvision models, K2 far exceeded our system needs for the space, so we switched over to Kara, which we knew would work well,” recalls RAT Sound Systems integration manager Adam Figueroa. Plans changed, however, when the L-Acoustics K3 was announced. “K3 was exactly what we needed,” he said. “It gave us the compact, full-range system we wanted without having to fly any sub hangs, and the system didn’t require any changes in amplification.”

Inside a Six-Month Festival’s Pandemic Audio

Now in place, The Vermont Hollywood’s loudspeaker system features eight K3 flown per side for mains, four Kiva II spread out across the stage lip for frontfill, and six KS28 subs positioned under the stage. Left and right flown sidefills each comprised of one A15 Focus over one A15 Wide are complemented on stage by an X12 monitor package, while short-throw X4i and 5XT enclosures are located out in the lobby area for additional coverage. Driven by LA12X amplified controllers, the entire system is connected via AVB with an AES fallback coming from an L-Acoustics P1 processor at FOH. A QSC S-SYS system is also in place for control of the main PA and processing for the distributed audio system, and a DiGiCo SD12 mixing console is located at the venue’s FOH mix position.

Jacques Massachi, co-founder and managing partner of the venue’s owner, MCAP Partners, was pleased with Figueroa and RAT’s results, noting, “What they brought to the table allowed us to transform what was effectively an empty shell into a technologically superior venue—the best-sounding space we’ve ever heard! We definitely hit a home run with L-Acoustics and RAT together, and we can’t wait for everyone to hear our K3 system for themselves.”

The Vermont Hollywood • www.VermontHollywood.com

RAT Sound Systems • www.ratsound.com

L-Acoustics • www.l-acoustics.com

Original Resource is ProSoundNetwork.com

EAW Launches NTX Line Array, SBX Subwoofer

EAW's NTX201L Line Array speaker
EAW’s NTX201L Line Array speaker

Whitinsville, MA (June 15, 2021)—Eastern Acoustic Works has unveiled its new NTX Series Line Array and SBX Series Subwoofer.

The NTX201L is a 2×10” articulated array with an integrated 1,600 W two-channel amplifier and universal PFC power supply. The NTX210L operates in the 55 Hz – 18 kHz range with a max SPL of 140 dB, and additionally has a 90° horizontal and 12° vertical nominal beamwidth. The NTX201L uses EAW’s OptiLogic technology, providing automatic array self-detection via onboard infrared sensors and accelerometers, and optimization including air loss compensation and more. The NTX series features integrated Dante networking including analog redundancy capability, allowing the analog input to be set to automatically enable if the Dante signal is lost.

Meanwhile, the SBX Series high output subwoofers are also debuting with two models—the SBX218, capable of a total 5,000 watts, and the SBX118, capable of 2,500 watts. Both operate in the 25 Hz–120 Hz frequency range with a max SPL of 141 dB for the SBX218 and 135 dB for the SBX118. Both models feature exclusive 18-inch neodymium woofers with 4-inch voice coils. Designed to complement the NTX210L Line Array, they can support other systems as well.

EAW Brings MKD Speaker Production Back to U.S.

The SBX Series subs sport hefty grills with large openings to protect the woofers and resist damage, while the large port, inspired by aircraft design, is intended to prevent port noise. EAW’s DynO dynamic optimization processing technology is also applied.

The NXT and SBX series both integrate with EAW’s Resolution 2 software, which provides system optimization, as well as room design and prediction, in a single application.

Eastern Acoustic Works • www.eaw.com

Original Resource is ProSoundNetwork.com

White Paper Explores Reopening Live Events Safely

A new white paper, “Reopening Live Events Safely: An Industry View,” looks at how to keep production pros safe as the industry reopens.
A new white paper, “Reopening Live Events Safely: An Industry View,” looks at how to keep production pros safe as the industry reopens.

Laguna Hills, CA (June 14, 2021)—As the live events and touring industry awakens from its slumber in fits and starts, one of the most pressing—and undefined—concerns facing production professionals at all levels is safety going forward. A new white paper, “Reopening Live Events Safely: An Industry View,” explores that topic and the varied approaches to ensuring the safety and well-being of industry workers.

The publication of the new white paper by industry insurance specialist Take1 follows a recent announcement that Take1, in partnership with Intact Insurance Specialty Solutions and the Event Safety Alliance, will provide free Event Safety Access Training to professionals returning to work after more than a year of being sidelined because of the Covid pandemic. As Take1 Insurance vice president and program director Scott Carroll put it, “Together with our partners, we are doing everything possible to help shake off the rust and get our industry back to work safely.”

Carroll noted, “Even as we start to recover, the workforce totaled 190,000 in February 2021. When will it return to pre-COVID numbers? Even with steady growth, not before 2022, if then. Many experienced workers will not be returning. They were forced to seek alternate employment and have moved on with their lives.”

Live Sound Reawakens As U.S. Tours Return

With all this upheaval, the live events workforce, particularly technical workers, face enormous challenges.

1) The pool of experienced workers has shrunk dramatically. Many are financially stressed after a year of turmoil as well as professionally “rusty” and in need of refresher training as the industry gets back up to speed.

2) Many new workers are entering the pool without any training or experience, especially when it comes to safety on the jobsite. Their inexperience can create risk.

The new white paper discusses strategies to go back to work, while managing risk. While there are many strategies to consider, the most crucial is safety. The white paper features industry experts, including production professionals, underwriters, brokers, and safety specialists, to better understand what it will really take to get back to work safely.

Take1 White Paper • https://take1insurance.com/educational-downloads

Original Resource is ProSoundNetwork.com