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Digital Audio Networking and System Control

Digital Audio Networking and System Control

When we do these Product Galleries, we generally try to keep them spec-based in an attempt to do the clichéd–but valuable–"apple to apple" comparison. But when it comes to products for transporting and controlling digital audio, there are apples and oranges and bananas and kiwi and…you get the picture. So this time around, we took a different approach; asking the makers of some of these products a series of what we hope are pertinent questions. The answers taken as a whole give a pretty good snapshot of business and technology in a big state of flux. Anything can, and likely will, happen in the next few years. At least one major player, EtherSound, is conspicuous in its absence. We tried to get the questions answered, but we unable to do so before our press deadline. Some of these systems only transport audio, others control entire systems, and regardless of how you feel about the direction we are going in, the future is in fiber, not copper. Smaller, faster and–as more units get sold and competition heats up– cheaper. We live in interesting times.

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Audix RAD-360 Wireless Mics, Peavey CS 4080 HZ Audio Power Amplifier and Behringer UltraCurve Pro DE

Audix RAD-360 Wireless Mics

By Mark Amundson

Making mics and designing RF transmitters and receivers are very different things. Ask any of the major mic makers who do wireless, many of whom have separate engineering teams for developing the transducer and RF pieces of the wireless puzzle. Which likely explains why Audix stayed out of the wireless game for a long time, introducing their first wireless about a year ago.

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When Things Go Right

There are certainly plenty of times when clients behave badly, when products don't ship on time, technicians have fights with their spouses and disappear for three days, when electrical contractors forget about those last 40 circuits–and we have all been there. But once in a while, the clouds part and the sun shines through and God's grace touches a project. This happens now and then…. even at churches.

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Gain Structure Revisited

I addressed this topic more than two years ago, but took a historical and Q&A approach to justify things like 0dBu levels, gain/level settings and +22dBu brick walls. While nice and informative, a lot of readers said that they needed to delve into the real knobs-and-faders portion of setting up their consoles. This article will revisit gain structure in a straightforward way.

All Those Controls

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Helping Chitty Chitty Bang Bang Take Flight

Production values have come a long way, baby. Just a few years ago, the thought of producing a Broadway show with a flying car sounded ludicrous, but the Tony-nominated New York production of Chitty Chitty Bang Bang incorporates Caractacus Potts' titular, gravity-defying vehicle along with lavish sets, pyro and even live dogs. It also has an incredibly high-tech sound system run through a DiGiCo D5T that incorporates seven PCs, four mice, two 24-track Mackie digital recorders and Akai samplers, not to mention a plethora of racks backstage.

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Making a Case for Cases

Flight cases are a fixture of the live sound industry. They're what enable us to take the show on the road. But one of the handful of custom makers of specialty flight cases has made more than a few that go beyond the standard mixer or effects rack.

Showcase Custom Cases in Nashville has done plenty of the usual types of cases for the usual suspects, including Tim McGraw, Lynyrd Skynyrd, Vince Gill, Larry Carlton, Toby Keith and Reba McEntire. But they've also done plenty of unconventional ones, and for some unconventional artists, as well, including a case for Sesame Street's "Big Bird" character and one for a huge champagne glass that Playboy Playmate Catherine D'Lish slid around inside for a Playmates tour several years ago.

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Jesse Blu Maine and Billy Walsh

Jesse Blu Maine

Owner

Blustreet Productions

North Chili, NY

[email protected]

Services Provided: Audio, video and lighting.

Personal Info: I started installing car stereo systems when I was 15 and then moved up to working live sound reinforcement at about 18. I have done freelance FOH work as well as some design and installations, mainly in churches.

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…I'll Be There?

Dear Anklebiters,

A friend of mine asked if he could rent some equipment for a small gig at a very reduced price. The band he is mixing is very loud, and I am concerned that my monitor rig may become damaged due to excessive sound levels. How can I prevent this?

Thanks,

Vince Simmons, Phoenix, AZ

Jamie: Vince, the obvious answer is to not rent the gear to your friend. However, I am an anklebiter and sworn to give out as much information as I can on any subject that crosses my desk. So, before I take off on one of my typical tangents, I have some questions to ask you. First, how good of a friend is this friend of yours? Because nothing can ruin a friendship faster than one of your buddies blowing up your gear. Second, why a "very reduced" rate? Did you buy your gear at a "very reduced" rate? Are you renting your friend a bunch of crap? In which case, does it really matter if he blows it up? Is your pal getting paid a "very reduced" rate for his work? Third, do you know the band? Have you heard them live? Are they friends of your friend?

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Compare and Contrast

About a week before we put this issue to bed, I had a day full of contrasts. After the usual morning of too-early rising, getting my daughter to school (did I mention that high school in Las Vegas starts at 7 a.m.?) and then making my daily bitch-out phone call to some casino PR guy who was standing in the way of a story, I went down to the Strip. There I met up with Ross Humphrey and the rest of the Blue Man audio crew at their new theatre at the Venetian, which they are set to open right about the time you are reading this. Very cool, very state-of-the-art and very creative. And yes, you'll get to read all about it next month.

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Survey Says…

The 2005/06 FOH subscriber survey has been compiled and I, for one, find it fascinating. About 7% of the magazine's total subscriber base took part in this year's survey, and the results are telling. First of all, let us remember that it is usually difficult to get 100% participation in any survey, and that most surveys are conducted with a cross section of the population. Political surveys usually conduct their fact-finding missions from a supposed cross section of the general population, and then, by using some complicated mathematical formula, the purveyors of the survey are able to understand the needs and wants of the American public. I usually find myself in the minority of each and every one of these political surveys, which means I neither have my finger on the pulse of the nation nor do I hang out with the right people. Despite these personal failings on my part, I–like most of the American public–rely upon these surveys to know where I stand in relation to the rest of the country, and because my views are usually aligned with the minority column of these surveys, it would be most beneficial to me if the survey conductors would publish the names and occupations of these survey participants.

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