Neil Diamond’s sound engineer since 1967, FOH Engineer Stanley Miller has always been a technologically savvy innovator. “Stan wasn’t on the cutting edge, he was on the bleeding edge,” states Larry Italia, longtime audio veteran who was a VP and general manager at Yamaha Pro Audio for decades and often worked with Miller, of which he said: “He is fearless, has remarkable instincts, and possesses a wonderfully curious mind.”
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It all began, in 1985, in of all places Rio de Janeiro, Brazil and over time has developed into one of the longest running (and highly successful) festival franchises in history. Following the first event, the Rock in Rio concept has spread to Lisbon, Portugal, Madrid, Spain and in 2015, to Las Vegas.
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It took 12 weeks, and more than 90 truckloads of construction materials, but what was a dusty, forlorn corner of the Las Vegas Strip was transformed into the ultimate rock ‘n’ roll playground by Brown United. The company’s largest undertaking to date, Rock in Rio USA took outdoor festivals to a new level, incorporating not just multiple stages, but an elaborate VIP area, “Rock Streets” filled with shops and eateries and even a Ferris wheel and zip line.
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When new audio gear arrives, the box is opened, the manual briefly scanned, but then many people just start making noise. Even the most meticulous reader of manuals will typically skip the preamble and “declaration of conformity” pages at the front of the manual. Yet locked within these pages are much of the blood, sweat and engineering tears shed during the design of your favorite pro audio products.
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How to Set Up Your Own Private Wireless Network
The majority of digital console manufacturers offer one or more ways to control your console remotely. In some cases, this can be done from a laptop running an offline/online editor, and in other cases, it can be done from a tablet or smartphone application.
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To say that the now-murky future of wireless audio for pro applications is somewhat clouded is somewhat of an understatement. With constantly changing Federal Communications Commission rulings, proceedings and a constant barrage of legalese of every type, what seemed clear yesterday is a completely different picture today. And at risk are not just frequency bands for RF microphones, but also those used on wireless rigs for musical instruments, in-ear monitors, production intercoms and now even systems such as Alto Professional’s Stealth series and AirNetix AiRocks Pro, designed to wirelessly transmit console feeds to mains or delay towers.
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For years, Yamaha’s digital mixers seem to set a standard by which other consoles are judged. There is no question that the PM1D, PM5D and M7CL are legendary consoles that defined their respective time periods and market segments. The CL and QL series consoles are no exception, and the PM10 Rivage is poised to be another staple of large-scale productions, much like its predecessor the PM1D.
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Sennheiser’s latest addition to its robust wireless line is the evolution wireless D1 (ew D1) digital wireless microphone system. Utilizing the 2.4 GHz transmission range (2.4 GHz to 2.4835 GHz), it comes in configurations for handheld vocal, headset mic, lavalier and musical instrument applications. For this review, I checked out a handheld set and a beltpack/headet mic package.
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Founded by Mark Kaltman in 2006, Kaltman Creations was never about doing things the usual way or creating “me-too” knockoffs. But perhaps that’s the way of many innovators who shape the direction of an industry. Now his latest product, RF-ResQ™ continues Kaltman’s tradition of coming up with something that redefines the way many of us will work in the future, just as he did with earlier inventions, like the Invisible Waves RF Command Center, the RF-id SOLO and Station, RF-intermodPro and RF-Vue.
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DPA Microphones continues to expand and improve upon its microphone solutions for pro audio users. This time around, the company sent me the d:screet 4071 omnidirectional miniature microphone to run through its paces. The 4071 is an update to DPA’s 4061 model, a workhorse praised for its sound quality that gets a lot of use on higher-end theatrical productions.
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It’s a familiar story that happens to a lot of churches. A congregation starts off in a smaller facility, eventually outgrows the sanctuary and moves to larger space, which may not have the warm, intimate acoustics of the original church. And so it was with the Clinton Frame Mennonite Church of Goshen, Indiana.
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Developments in loudspeaker technology don’t seem to come along very often. Yet every day we witness new products, new materials and new approaches advancing the art and science of loudspeaker design. A good example of that kind of forward-thinking comes in the form of the Trinity system from Calgary, Canada-based PK Sound. (The system is pictured here in use at the Safe in Sound festival at Club Cinema in Pompano Beach, FL).
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