WORCESTERSHIRE, UK — XTA Electronics promoted Richard Fleming to application and support manager. Fleming has 20 years working in pro audio R&D. Prior to XTA, Fleming worked at Klark Teknik and Laney/HH Amplification.
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SALT LAKE CITY — Harman Professional named Nick Owen senior director, worldwide sales for its Signal Processing business unit. Owen will be responsible for global brand strategies for the dbx, Lexicon, BSS and DigiTech brands. He is based in Harman’s Sandy, UT facility and reports to Rob Urry, vice president and GM of Harman’s Signal Processing and Amplifier business units.
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CHESSINGTON, U.K. — Marking three major 2012 milestones – 40 years as a company, 20 years of digital development and 10 years for the DiGiCo brand – DiGiCo has announced free upgrades for owners of its SD series consoles including its SD8, SD9, SD10 and SD11 models.
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To download a PDF of the Dec. 2011 FRONT of HOUSE Buyers Guide, CLICK HERE.
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The 10th annual week-long Rock In Rio festival returned to Brazil after spending even years of the past decade in Lisbon and Madrid, drawing 700,000 to the site planned for the 2016 Summer Olympics to hear Guns N’ Roses, Shakira, Katy Perry, Stevie Wonder, Ke$ha, Metallica, Rihanna, Coldplay, Elton John, the Red Hot Chili Peppers and many other top artists perform.
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For the fifth year since it opened in 2007, Britannia Row Productions provided live audio for the NFL’s annual International Series game seen by some 80,000 fans in London’s Wembley Stadium — a venue Britannia Row has worked many times, including Live Earth, the Concert for Diana, Metallica and Foo Fighters, among others.
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Katy Perry rose to fame with her 2008 single, “I Kissed a Girl.” Her 2010 album, Teenage Dream, which debuted at number one, included five number one hits (with a sixth on the way up) — a feat matched only by Michael Jackson’s Bad. She is also the first artist in history to spend 52 weeks in the top 10.
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Both the XP and XD have an industry-standard choice of Bessel, Butterworth or Linkewitz-Riley crossovers with slopes from 6 to 48 dB-per-octave. Under General Settings, the EQ and crossover settings can be made in either 1 Hz increments or 36 steps per octave.
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Managing low frequencies is one of live audio’s constant challenges. We deal with room nodes, architectural resonances, uneven coverage and unwanted spill. Today’s line arrays provide fairly uniform horizontal coverage with adjustable vertical splay. However, an equivalent vertical subwoofer array that provides low-frequency directivity is enormous. The last decade has brought about the ready availability of digital signal processing (DSP) and with the advent of digital consoles, modest DSP is included in every mixer’s outputs, allowing the easy creation of cardioid arrays with everyday means.
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Okay — I will freely admit it. There are some processors from my real-world rack of outboard gear that I have been missing since adopting the Avid VENUE mixing platform and then choosing to fully embrace the digital domain by relying exclusively on plugins rather than hardware. One absent, and very much missed unit, was an easy-to-use, musical-sounding tap delay. For years, I had been accustomed to having to having one and, quite often, two tc electronic 2290 delay units that I dedicated to lead vocal effects. One would be set for a fairly tight delay time in the 160ms range and returned at a low level to add just a bit of resonant depth to a vocal. The other 2290 was customarily designated for longer delays, utilizing programmed special effects presets that I would change with a remote MIDI keypad.
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Last month, we discussed the basics of filters and examined in detail the concept and application for high-pass filters (FRONT of HOUSE, Nov. 2011, page 41). This time we’ll check out low-pass, band-pass and band-reject (a.k.a. “notch”) filters.
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The 1970s were the golden era of the mid-sized music venue. From Max’s Kansas City, CBGB and the Bottom Line in New York to the Troubadour in L.A., a fire code of 500 to 1,500 people seemed like just the right size for rock ‘n’ roll. The larger theaters, like the Fillmores and the Beacon, were waiting to take touring acts to the next level, but the middle tier was the night-to-night Petri dish for the era’s music, a place for artists to develop and let fans watch them do it.
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