Dave Skaff won the Parnelli Award for Monitor Mixer of the Year in 2005 for his work on the current U2 tour, which is keeping his hands full. In addition to it being a very high profile gig with a band that expects a lot, monitor world is under the stage, so he has to rely on video feeds and a complex talkback system to communicate with his clients. All that and he is using a new console…
Read More »It may not be obvious, but the directionality of a sound reinforcement loudspeaker is as important a characteristic as its frequency response or power-handling capability. Control of "spill" is critical for sound reinforcement because the environments we deal with are almost always reverberant. If we cannot control the direction of sound, not only does it miss our audience, but it also does nasty things like bounce off walls, create comb filtering and decrease intelligibility.
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It's September 21, 2005, and Tim Hannum finds himself among the more than 500 patrons at the opening of one of the most anticipated adult entertainment spots (or "gentlemen's clubs") in Manhattan. Located in the former Paradise Club spot, the building alone cost $7.6 million, plus another $3 million to make it pole-worthy, and it's in the desirable spot between Madison Square Garden and the Empire State Building. It's the 10th club opened by Rick's, a publicly-traded company.
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Heil Sound PR Series Microphones
At the AES show, I met a brash older man with some amazing microphones. That man was Bob Heil, a legend in his own right as the owner of a sound company and builder of sound system speakers, amplifiers and mixers years ahead of what has been available from other manufacturers. While most us thought that Heil Sound Limited had faded into history, Heil's other passion of amateur radio has kept his engineering skills sharp. And that sharpness was enough to design microphones for ham operators and broadcast talent that kept Heil innovating in microphone technology. Through the encouragement of collaboration with Heil's longtime amateur radio friend, Joe Walsh of the Eagles, Heil brought forth the PR series of large diaphragm dynamic microphones suitable for live sound applications.
Read More »No, it's not what you think. What we're talking about is getting a controlled drum beat we can mix with the rest of the worship band.
It's no secret that many church music programs have been incorporating more aggressive/contemporary live music into some–if not all–of their services over the past several years. While the amplified guitars, bass, keyboards and drums help add energy and passion to a service, many organizations are now fighting a new problem: The problem of overpowering sound levels, with acoustic drums seeming to be the main culprit.
Read More »One of the things that still aggravates me are questions about loudness that are formatted like; "How many ampli- fier watts per person are needed for a rock 'n' roll show?" And the oft-repeated, "How many speakers do I need for a room of this size?" While the innocent are allowed to ask such questions, I find it disconcerting to hear experienced sound people asking the very same questions. This Theory & Practice column shall attempt to cover the basics on estimating the Sound Pressure Levels provided and–the reverse–to estimate the amount of gear need to achieve a desired SPL.
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One of the most unusual theatre events you'll ever experience is Stomp, a percussion-driven ensemble piece with a great sense of fun and playfulness that has been delighting audiences in Manhattan's East Village for nearly 12 years. During the various acts, eight performers play all manner of objects as instruments– brooms, tubes, lighters, candy boxes, metal objects, poles, pipes, customized percussion kits, even their own bodies. They toss in everything, including four kitchen sinks.
Read More »Viewers of Rock Star: INXS, the reality show that sought to find a new lead singer for the vocally-decapitated Australian rock band, were getting a little more reality than they might have bargained for. Or a little less.
On the other hand, John Gott had carved out a great niche for himself and should be the envy of every FOH mixer over the age of 30: After mixing live sound for artists including Pat Benatar and the Talking Heads in the 1970s, he combined a technical gift with an entrepreneur's eye to create a few new live sound and lighting products, one of which eventually became SLS Loudspeakers.
Read More »Dear Anklebiters,
I read your column every month and I fall into the category of a lot of your letter writers. I work for a fairly large sound company and I want to go out on my own. I have been in this biz for some time and I have watched the market and my company go through a lot of changes. My question is, do you think this is a good time to start my own company? I mean, in this current economic environment, would it make sense to you? I look forward to your input. Thanks,
Read More »News flash: I actually went to a show recently and PAID for tickets. They were really crappy seats. And I bought them from a ticket broker. I did it for my lovely wife, who is a big Eagles fan and had never seen the band (not even this postmodern version). I, on the other hand, saw them at the Fabulous Forum on the Hotel California tour, which means that, yes, I am officially old. Not really. That was in, what, 1977? So I must have been about two years old at the time. I wasn't 17. Really.
Read More »In the '80s, Bob Dylan–of all people–sang about the decline of unions and noted that a lot of that decline was due to decisions made by union leadership, not corporate America. With the recent shakeup of the AFLCIO and IATSE's decision to stay with the old guard, we can't help but wonder about the future of the union for production pros. Dan Daley addressed this in The Biz column back in September, but when we read it, we realized we were left with questions that only the union brass could answer. –Ed.
Read More »I have written about the blame game before (INMF, It's Not My Fault) and no matter how funny certain situations seem in retrospect, there is usually little humor to be found when confronted with an ugly situation and you are the one who is standing in the line of fire.
I spend a good part of my working day speaking to clients about their upcoming show or audio rental, and quite often, my conversations exceed the limit of what might be called an audio job and cross over into the undefined role of production manager or production consultant. While this progression from audio manager to production manager is not an unusual situation, it does create, by its indeterminate character, a gray area–or a production Bermuda Triangle– where balls will be dropped and signals missed. Whole gigs seem to mysteriously disappear from the radar on show day, leaving some engineer, client or artist scratching their head in disbelief as they point an accusing finger in every direction but their own.
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