LAS VEGAS – The Parnelli Awards Board of Directors announced that Ed Wannebo, longtime production manager for Kenny Chesney, will receive the live event industry's highest honor, the Parnelli Lifetime Achievement Award, at the gala dinner and ceremony to be held Saturday, Oct. 29, 2011 in Orlando during LDI.
Read More »Hi Everyone,
I'd like to introduce myself, though most of you already know me. Like many I started out playing in a band. We occasionally lost a musician and had to break a new one in. During one of these "personnel transitions," a previous guitarist called to rent my equipment and hire me to haul it and run it. In the 1970s, PA wasn't much bigger or more complicated than my drum kit. And I didn't have a gig that weekend.
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Rat Sound is providing sound reinforcement for the current leg of Prince's Welcome 2 America tour. The system consists of six hangs of 10 L-Acoustics K1 in the round with 42 dV-DOSC and 40 SB28 subs powered by L-Acoustics LA8 amplifiers, and engineers Majid Malki and Fred Lucas are using an analog Midas Heritage 3000 console.
Read More »To download a PDF covering Prolight+Sound 2011, CLICK HERE .
This year's Frankfurt Prolight+Sound (PL+S) exhibition was significantly more buoyant than 2010's event. As with last September's PLASA show in London, there was definitely more of a buzz and manufacturers seemed to have positive expectations for the coming months, which is reassuring for our industry.
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How do you get from a childhood in the walled-in "island" of West Berlin, surrounded by communist East Germany, to a life on the road in the monitors hot seat and a home base just a few miles from the Las Vegas Strip? Andy Ebert, monitors engineer for Stone Temple Pilots, made the journey. But he suggests that the transition for him was far easier than it might have been for a fellow Berliner on the other side of the wall.
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It is widely known that different Digital Signal Processors (DSPs) sound different. I have heard this difference ascribed to everything from sample rate to the quality of the limiters, whatever that means. Certainly there is a difference to be found, but I suspect it is not going to be discovered using audiophile words like "warmth" and "depth." Largely to satisfy my own curiosity, I asked users of Sound Forums Network pro audio community (www.soundforums.net) to input a set of identical settings into whatever DSP they had access to and send me the results.
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In case you hadn't heard, there was a big, fancy wedding at centuries-old Westminster Abbey on April 29. But the Royal Nuptials were actually just the latest in a succession of high-profile events that have taken place in the Abbey, formally known as the Collegiate Church of St. Peter in Westminster, within the last year or so.
Read More »To download a PDF of the FOH May 2011 Buyers Guide, CLICK HERE.
Doing it "your way" is almost always an admirable trait, and it's one that enables a lot of people in the pro audio industry to get a foothold in the business and to get ahead. But there are other times when a compelling case for the division of labor makes sense – such as portable power distribution.
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This is the first of a two-part review. Next month: A closer look at some of the things you can do with the software bundle that comes with this product. Far from a throw-in, the software is really an integral part of what this product is all about. -ed.
One of the quirks about this business is that the older and supposedly more knowledgeable you get, the faster the transition is from cool, new "toy" to necessary "tool!"
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The first thing that caught my eye when I looked at the Peavey Impulse 12D is that the enclosure sports a ribbon driver rather than the typical high compression driver. The ribbon driver is an exclusive Peavey design based on the ribbons used in the Peavey Versarray line arrays. Even if you don't know what a ribbon driver is, you can't help but notice that the horn section of this injection-molded enclosure is very different from what would be considered the norm.
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It's not quite accurate to say that John Heinz, founder and owner of Atlantic City's Concert Quality Sound, was born into the business, but he sure got an early start. His father worked on the tech end at the Hughes Television Network, which was in part a forerunner to ESPN, and also one of the first companies to get into closed-circuit telecasts – it was working those sorts of gigs at Atlantic City's Boardwalk Hall that led to the Heinz family relocating there from New York, and it's where young John got his first exposure to the world of sound.
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Five years ago, I migrated from working on analog mixing consoles to the digital platform. Leaving a familiar environment caused more than a little trepidation, but I decided to jump in with both feet. No hybrid world for me, I decided to go digital all the way. Dealing with latency and multiple conversions were not attractive prospects, so I also left behind the thoughtfully assembled racks of beloved outboard gear on which I had depended for so many years.
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