Endeavor Audio & Lighting Systems gets to market by treating others right.
There comes a point, it seems, when the thought of another club date in a town just south of nowhere is less than attractive. When Jason Oakey and Chris Menichetti hit that point, they decided to get off the road and start their own audio and lighting company.
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Ryan Greene has been spending the past 15 years or so working on his studio tan, helping an assortment of punk rock bands such as NOFX, Lagwagon, No Use for a Name, and Me First and the Gimme Gimmes record their best offerings.
Before that run of studio work, Greene learned about audio by standing in front of bands at the front of house position with a mixing board under his hands. His first FOH gigs came in Los Angeles during the ‘80s, and he worked with such bands as Poison and Warrant, as well as a handful of local bands at venues like The Troubadour, The Roxy and The Whisky.
A couple of years ago, Greene moved to Scottsdale, Ariz., and opened Crush Recording. There, he continued to work with dozens of rock bands willing to travel to his studio. After one session, a band that he worked with was about to hit the stage and was looking for someone to mix a live show. Greene jumped at the chance.
The community’s response to the closing of the John Harms Center in 2003 was swift and not positive. In fact, citizens from around northern New Jersey joined to let the powers-that-be know that they wanted a local regional arts center to serve the cultural needs of the area.
From P.A.'s for The Who and The Dead to Talk Boxes for Joe Walsh and Peter Frampton, to the Rock and Roll Hall of Fame. It is All Based on a Love of Music, Between Hearing and Listening.
No one seems more surprised at Bob Heil’s success than Bob Heil.
Wide-eyed, a face pre-amped with a perpetual smile, the over-caffeinated Dr. Pepper-swigging Heil is that rare breed who is as liked as much as he is admired. Peter Frampton calls him one of the most sincere guys in the business, and in a business that is often short on sincerity, it is perhaps the highest compliment.
Read More »The band was Korn, and the record label decided to hold a press conference on Military Island, which is a tiny triangle of real estate in the middle of Times Square. Someone in marketing had the brilliant idea of creating a corn field, for obvious reasons I suppose, complete with bales of hay. All was going well until the mounted police arrived and couldn’t keep their horses from snacking on the aforementioned bales of hay. Not a disaster by any means, but I’m sure that the label’s marketing department did not intend to have the New York mounted police and their hungry horses in the cornfield with Korn as they held a press conference in Manhattan. And so it goes with the best laid plans.…
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Well, almost. This issue marks the end of five years of FOH. That’s right, next month will open year six. I am getting a little jump on things just because, well, just because I feel like it.
Read More »Back in the early 1990s when Alesis introduced the first ADAT machines, I wonder if their development engineers envisioned how important those tiny optical ports on the rear panel would become to the pro audio world. The ADAT optical I/O has not only been adopted by countless other companies as a means of multichannel digital audio transport, but has paved the way for more comprehensive forms of fiber optic transmission of digital audio.
Read More »By now most people are familiar with the concept of “the long tail” — Wired magazine editor Chris Anderson’s digital-era economics theory that busi-nesses with significant distribution capability — like online businesses — can sell a greater number of items at small volumes than of popular items at large volumes. Anderson argues — and not many people have argued back — that products that are in low demand or have low sales volume can collec-tively make up a market share that rivals or exceeds that of the relatively few current bestsellers and blockbusters, if the store or distribution channel is large enough.
Read More »Brian: So here’s what I want to know: You’re already all set up and you are in the rehearsal, and everything goes downhill from the word go. And none of it is your fault — it’s the client. They are beyond unorganized. You realize that you really don’t want to do the show. It’s going to be a disaster, but you’re already in too deep. What do you do?
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The Renkus-Heinz Audio Operations Network has made its public début as a full production product at PLASA 2007, in the shape of the Sygma SG Series loudspeakers. RHAON from Renkus-Heinz opens a new era in networked, powered loudspeakers with a combination of integral amplification, DSP, digital audio networking, control and monitoring, which is available for the entire Renkus-Heinz powered product lineup.
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KUNGSBACKA, SWEDEN — The Lab.gruppen PLM 10000Q provides a complete drive system, designed for any type of loudspeaker, and integrates of crossover, delay, equalization, limiting and power amplification functions.
Read More »Bringing power to its VRX Series portable line arrays, JBL Professional is introducing the VRX932LAP 12-inch powered loudspeaker and the VRX918SP 18-inch powered subwoofer. Utilizing the JBL DrivePack DPC-2 amplification system, both models are fully self-contained, powered loudspeakers. Retaining the features of the original VRX932LA and VRX918S, self-powered performance has been optimized through integrated DSP.
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