CEDAR Audio is no stranger to noise reduction systems. The company pretty much wrote the book on state-of-the-art hardware- and software-based solutions for all types type of unwanted audio artifacts, ranging from pops and crackling on vintage 78 records to wind, rain and nearly every other type of sound that could creep onto an audio channel. In fact, CEDAR received an Academy Award for its original DNS (Dialogue Noise Supressor) system.
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Over the past two-and-a-half years, I have taken an in-depth look at many individual TDM plug-ins that I’ve employed while mixing various artists on the Avid VENUE platform. Different artists and productions may present a variety of audio challenges for which unique software solutions are required. However, this month’s column will be devoted to listing the Top-10 “must have” plug-ins I find myself using on every setup. Some have been in my virtual effects rack since I was first introduced to the VENUE platform in 2006. Others are more recent additions, but are no less valuable in the creation of an optimal live audio product.
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Think of a venerable live-music venue in downtown Nashville, one with a tremendous history going back to the 1920s and where the Grand Ole Opry once took up an extended residence. Slam-dunk question? Not so fast — turns out there’s two good answers to that question now. Sure, there’s the Ryman Auditorium, most closely associated with the Opry and a venue that’s reinvented itself as a locus for well-curated shows and burnished by an association with the upswing of the Americana genre, all of which helped it win Pollstar’s Theatre of the Year award in 2010 and 2011. But there’s another venue that matches the Ryman in terms of history and is trying to do the same in becoming a destination for music.
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Instructions:
Leave this issue of FOH open to this page. Place it on a coffee table, nightstand, desk, (bathroom!) or other place your significant other can easily find it. This opening paragraph is printed with disappearing ink. After you read these instructions, rub them with a stage towel and they will disappear — leaving only the remainder of the page. Happy Holidays!
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It is very common to see the use of in-ear monitors in many houses of worship today. That said, I still want to have floor wedges on my stage when I am mixing, in-ears or not. I don’t think I am so old school that I need to have floor monitors in my mix. I just believe that wedges provide a different way for the band to hear the mix and interact with each other. I am a fan of traditional floor monitors, but not to the exclusion of in-ear monitors. This month’s installment of Sound Sanctuary is not floor wedges versus in-ears. If anything, I want to celebrate floor monitors and the joys of mixing with these speakers.
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Years ago, I used to remember phone numbers and addresses of all my friends, relatives and business associates. I also had a fairly good internal databank of their birthdays, anniversaries and other special occasions. I kept most of my appointments and gigs in my head, and I was fairly adept and remembering detailed instructions and directions that were verbally conveyed to me. I had a good memory for recalling certain movies, music and sports trivia as well as having a decent knowledge of historical fact, which I could recall at any given time. I must admit that I finally bought an address book/organizer when I became really busy, but I still kept the most pertinent information in my head.
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If you weren’t among the record-breaking crowd of nearly 700 top industry pros attending the 2013 Parnelli Awards there, you really should have been. The 2013 Parnellis had it all — there were jokes about the crazy world that is live events, honors and accolades given the amazing talent who excel in their field this year, and even some quiet moments of remembrance of those who have passed.
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Veteran concert touring entertainment professional Mo Morrison was the inaugural inductee going into the newly formed Parnelli Hall of Fame. Morrison, sometimes known as “Momo” or “Uncle Mo,” has spent the past 40 years working in the concert touring and event production industry with much television work along the way. Currently, Morrison is the tour director for Lady Gaga worldwide, handling all touring, television and promo presentations.
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German company Production Plate has unveiled a new, clean and uncomplicated solution to the marking, labeling and identification of cases and racks for equipment and gear. Production Plates are peel-off/stick on tags that are large and easy to see and manufactured from 1000-micron-thick, tough industrial PVC, a extremely robust plastic that is hard, low in weight and durable.
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LONG BEACH, CA — This week we were saddened to hear of the death of journalist and self-described “PR Maven” Diane Gershuny, who lost a lengthy battle with cancer last Monday. She was 53.
Unwilling to give up during her struggles with this disease, she nonetheless continued to create some great journalistic offerings including photos and articles in FRONT of HOUSE on last year’s Barbra Streisand tour and more recently, a detailed Production Profile on Taylor Swift’s “RED” tour in the September 2013 issue of FOH.
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JAKARTA – Melodia Sound & Lighting Systems, a distributor with locations here and in Surabaya, Indonesia’s second largest city, recently purchased Outline’s GTO line array gear. It has already been put to use for a Steve Vai concert at Jakarta’s Tennis Indoor Senayan. Pictured here with the gear are Rudy Winarto, Budiharjo Sutanto, Francesco Ferretti and Tony Subarkah.
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UNCASVILLE, CT – The Avalon Mohegan Sun, a 10,000 square foot nightclub that featured DJs Jermaine Dupri, Irie and Havana Brown during its opening weekend Nov. 23 and 24, is drawing crowds with EAW Avalon Club.two and Sub.two speakers along with high-impact lighting and video systems. Club owner Patrick Lyons launched the original Avalon nightclub in Boston 25 years ago with his brother John. John Lyons played a key role in the development of EAW’s Avalon speaker line.
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