When FRONT of HOUSE’s intrepid editor George Petersen suggested I write on the topic of loudspeaker horns, I was immediately interested, and a little overwhelmed. Improving horn behavior is a topic of personal interest. Discussing the operation of horns is a huge subject, and the underlying math that describes how horns operate is complex and poorly understood — even by horn designers. Despite these challenges, horns are too interesting a topic to ignore.
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Over the years, rack mount analog mixers have developed from simple utilitarian devices into some fairly complex systems suitable for serious pro applications. And despite… Read More »Rack Mount Analog Mixers
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LDS Temple Complex
Oakland, CA
Completed nearly 50 years ago, the 1,800-seat Interstake Auditorium at the LDS (Mormon) Temple complex in Oakland, CA, was overdue for a new sound system. To address challenges including strong, focused echoes, somewhat heightened ambient noise levels and a relatively low ceiling, Ken Dickensheets, CTO/principal consultant, Dickensheets Design Associates, Austin, TX, specified a new RoomMatch array module system from Bose Professional Systems. Marshall Industries of Salt Lake City handled the installation.
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It’s been some two and a half years since Movek’s myMix burst upon the scene, introducing thousands of satisfied users to this personal cue mixing system. And now with the new myMix CONTROL remote control/configuration software, the systems just keeps getting better and more flexible. Created via Linux, myMix CONTROL is a non-platform-specific, browser-based tool for mix engineers working with performers, and integrators who want to quickly create customized setups for myMix systems in commercial or complex installations.
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For the past decade, KV2 Audio has built a reputation for creating rugged, great-sounding pro audio gear. Founder George “Jiri” Krampera always made products with novel, innovative approaches. So when KV2 announced its JK series direct boxes, I was anxious to check these out.
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Note: This was written in response to Baker Lee’s “FOH At Large” column (June 2012 FOH) regarding the occasional dangers of technology and whether depending on various devices represented a form of “cheating.” We thought Kip presented some good points and we wanted to share them with you. —ed.
As I sit typing this on my MacBook, I start to wonder if I am “cheating” by not picking up a pen and paper, purchasing a stamp and driving a letter to the post office. All things that, in this economy, I would prefer not to do.
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Since I made the choice to migrate from analog consoles to a digital platform, something that’s become increasingly clear to me is the requirement to be even more selective and judicious in my microphone choices. I believe it’s reasonable to conclude that the process of digital conversion after the mic preamp is maximized when the processor engine is provided with the highest possible degree of useful detail from the transducer. In the last six years, I have been adding more and more precision high-end condenser, ribbon and dynamic microphones to the James Taylor show’s input list.
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We all know about ideas that have been ahead of their times. But one of them that might have come along a decade too soon seems to think that finally, the moment is now right.
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Where do monitor engineers go when they retire? That’s easy: they go to heaven. After dealing with all of the crazed artists and onstage insanity that comes along with creating multiple mixes for performers with widely varying needs, they deserve it. Yours truly does not fall into either category (monitor engineer or heaven), but that doesn’t mean that we can’t dig out tips and techniques to help you in your quest to create a better stage experience for the artists with whom you work.
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Probably the most overlooked issue in house of worship audio is the placement of the all-important microphone. This issue is mostly confined to instrument microphones and choir mics. With regards to speaking and individual singing mic placement, the issue here is usually the end user. However, we will discuss this later. For now, let’s turn our attention to instrument miking techniques. There are a few different ways to mic almost every instrument. So I am going to tell you my tried and true methods, whether it be drums, guitars, bass, brass, etc.
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Call me archaic, but I actually find the English language to be a great way to express one’s thoughts — regardless of intent or purpose. From relaying simple instructions in concise terms to loquaciously waxing poetic, English — when used properly — is capable of conveying thoughts and feelings with nuance and elegance. This does not mean that we need to roll our “R’s” nor speak in Shakespearean English, but as intelligent people, we must find a middle ground between “Wherefore art thou?” and “Where you at?”
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SAN DIEGO, CA — VUE Audiotechnik named Joe Manning of International Sales as the company’s official representative throughout the Asia-Pacific region. Manning will help expand VUE Audiotechnik’s presence throughout the region by assembling and managing a distribution network for the company’s growing family of professional loudspeakers technologies.
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