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Pab Boothroyd

Pab Boothroyd

How many times have you encountered a lead singer with an attitude? Like he consistently comes to work with the right attitude each day, excels at his job and seems to have a sense of just being a regular guy on and off the stage? Well, that's Paul McCartney, the guy Pablo Boothroyd mixes for each night.

Pab will tell you it is business as usual to record each sound check and each show for every stop on a Paul McCartney tour. This time, the job also entailed sending two songs live, as they happened, to a couple of astronauts for a morning wake-up call in space. A Paul McCartney tour also usually results in a live CD and a tour DVD, as well as some goodies used for Internet content. When it comes to the art of the concert tour and everything that surrounds it, and I mean everything, Paul McCartney is simply one of the best to work for out there and he just keeps on doing it better and better. Pab and I each pulled up a road case and sat down for a look-see at the Front of House position used on the 11-week Paul McCartney US tour.

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On the Bleeding Edge: Of Mouse and Men

Riddle me this, Batman: When is an audio console not really an audio console? When it's a control surface. With digital technology running rampant, there are plenty of control surfaces out there masquerading around as audio consoles. We've got to recognize the differences or we're sunk.

If you're reading FOH, you already know that an audio console is a device with faders, button and meters designed to route and process audio. We've all plugged our mics into these desks and used them to mix shows. Ah, but a control surface would like you to think it processes and routes audio when really, it is nothing more than a very expensive mouse! Alas, this Mighty Mouse under your fingertips controls a computer, typically (but not always) processing audio in the digital domain.

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A Horse, Of Course–But There's More

When I telephoned Gary Nellis on Dec. 19 for an interview, he certainly sounded calm. Talk about the eye of a storm.

Nellis, who headed up the electronic install at the brand-spanking-new South Coast Casino in Henderson, Nev., a city that hugs the southeastern rim of Las Vegas, didn't actually answer the cell phone; someone on his crew answered for him as he discussed business on his other cell phone. Momentarily, he switched over, and with mind-boggling calmness, talked to me about the task of getting a big electronic install done under pressure.

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Regional Slants: Being Bigger Than You Are

In our pursuit to grow and expand our business, we must look beyond our current inventory and capabilities and be willing to take on risks and challenges that might be beyond our current level of comfort.

Sometime last year, we were awarded the contract to do a large event for the City of Albuquerque. "Freedom Fourth" was scheduled to run over four days with multiple acts each day at the Albuquerque International Balloon Fiesta Grounds–a large 94-acre park. With more than 30,000 estimated to attend the final day, it was an ambitious undertaking for us. But hey, there's nothing like putting up a big honking sound system to crank out your favorite tunes.

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Power Play

While doing FOH at an outdoor gig in Victoria, B.C., with a fair-sized (six boxes/side + 6dual 18) EAW rig next to city hall, the local city representative and his trusty Realistic SPL meter came up BEFORE we turned on the mains and told us to keep it down–the local bylaws say that they have a 90dB limit. The stage sound at FOH was around 90 to 95dB. The local system tech didn't turn on the system for the first band, and we were the second of three bands in the lineup. Well, I hadn't seen the city guy in an hour, and figured I could bluff and delay us through a 30-minute set, and mix with adequate volume. This, however, was not the issue. Halfway through the first song, the subs go down. No comms to stage, so I run to the deck and get the system dude to click the breaker back on. Bear in mind that I was peaking at about -6 on the output of the crossover. Went back to FOH and was there for a minute before the subs went down again. As I ran back to the stage, the high/mids went down. The stage guy said I was pushing it too hard, but my mix was so conservative that there was NO WAY I was close to the red lights. The monitors seemed to be relatively stable, and the band I was working for had been accustomed to no monitors, so I cranked the vox in the wedges and pointed them towards the crowd. The owner of the rig finally showed up and crawled under the deck, played with the distro and all was good. The last twothirds of the set went off without a hitch, at about 105dB at FOH. But during the second-to-last song, the city guy reappears and gives his meter a good, hard look, and glares at me. I held my SPL, and nothing came of it. Had he asked me to turn it down, I may have inserted the meter in him. By the way, I found out later that a construction worker next door had plugged an electric jackhammer into our power distro.

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The Sound of PartyLite 2005

For the fourth consecutive year, B&R Communications chose Orlando, Fla.-based LMG, Inc. to provide the audio and video for PartyLite's National Sales Conference. As audio services manager for LMG, and this being an audio trade publication, I will focus on those particular aspects that went into this challenging endeavor.

Challenges

When speaking of this show, the phrase about "pounds of unmentionables in a too-small bag" comes to mind. In previous years, this event was held in a football-size indoor stadium. For 2005, the show moved to Washington, D.C. and a basketball-size arena was chosen, offering a lack of space for the backstage areas. Prior to 2005, the stage was set up around the 50-yard line, leaving an extra 50 yards for the setup of audio, video, lighting and scenic. With the stage end on the court of a basketball arena, we were left with little to no space.

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Allen & Heath GL2800 and GL3800 Mixing Consoles and JBL VRX 900 Series Line Array

Allen & Heath GL2800 and GL3800 Mixing Consoles

By Mark Amundson

When I first started shopping for an entry-level "professional" console, I purchased the Allen & Heath GL2200. And when I mixed on most of the club install rigs, I usually had Allen & Heath GL2200 or GL3300 consoles to work with. So when Allen & Heath put together the GL2800 and GL3800 consoles, I knew they had to work hard to make improvements on these GL-series workhorses.

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Cable Keeping

Every soundco has cables, endless numbers of them. From snakes to mic patches to speaker cords to AC power distribution. And like most newbies, you all start with the usual whatever-is-handy approach to transporting them–old roadcases, milk crates, suitcases, steamer trunks, plastic totes, etc. This article describes the art of cable keeping, and how the big soundcos do it.

Sometimes we just don't learn, but typically, plenty of clues are dropped by those witnessing your load-in ritual. Sayings like, "How many trips are you gonna make?" or "Hey, it's getting cold in here. Wanna hurry up?" What those less-than-polite comments should be telling you is that you are not very efficient in getting your gear from the gig rig into the venue.

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One Man Star Wars Trilogy

One man. One stage. One microphone. One ambitious actor performing an entire trilogy of famous sci-fi films with dozens of characters. Charles Ross deserves props for taking George Lucas' famous first triad of intergalactic adventures and condensing them into an hour-long solo performance that is equally a loving homage and hysterical parody of this beloved film franchise. Ross plays all the parts, uses no props and imitates as many sound effects as he can, even simulating an X-Wing crashing into the Death Star. In other words, he's like a kid imitating his favorite movie, zooming and rolling around his bedroom, except he's in front of a much bigger audience. It's a show that can be punishing on his body, voice and microphone setup.

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House Concerts Make Live Sound a Lifestyle

When the Beatles played Shea Stadium in New York in 1965, the music P.A. consisted of a half-dozen Shure Vocal Master systems–two columns of 6- and 8-inch speakers fueled by a combination mixer/power amplifier. Thankfully, the miles of Hi-Z cabling running around the stage didn't honk back much telemetry from the then-relatively small number of satellites floating around in orbit.

Looking back, it's almost comical that an event of that historical magnitude had such a puny P.A. system, but that's what you had at the time. The Vocal Master was the apotheosis of what someone could buy off the shelf in terms of a public address system in those days. But there are a couple of trends that make what was the state of the art at that time worth remembering.

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The Latest and Greatest

Dear Anklebiters,

I operate a sound company that is currently healthy and making money. My concern, however, is that sound reinforcement technology is moving too fast to keep up with. How can I compete in this rapidly changing market?

Thanks,

Pete Hampton, Spokane, WA

Jamie: Pete, the first thing to remember is: You do not need to have every new toy and gizmo in your arsenal to be competitive. You already have a clientele, and the fact that you are making money tells me that you are satisfying your clients. Right? But is it a good idea to keep up on tech and equipment trends, and of course, the latest and greatest innovations out there. Look, dude, you're already reading FOH. Need I say more? Paul, what do you think?

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