NEW YORK – Broadway productions are relying upon Aviom's Pro16 personal mixing system. Three of this season's musicals – Promises, Promises, Come Fly Away and La Cage aux Folles – are using the system to help the orchestra to stay on cue.
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OEIRAS, Portugal – Boomerang, based here, will distribute Proel sound gear, stage equipment and its Tamburo product lines in Portugal. Led by owner Carlos Cunha, who credited Proel for its "impeccable reputation" and "efficiency in logistics," Boomerang is also the Portuguese distributor for Turbosound products.
Read More »So, I'm doing the Facebook exchange thing with a friend of mine. Subject is cooking, and I asked, "Why is it that so many musicians and sound guys I know are the ones who do all the cooking at home?" And her response was immediate and to the point. "Because we have passion for it."
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His personal motto says it all: "The stakes are too high for amateurs."
Al Siniscal has a long history of having distinguished himself, not only for his considerable pro audio breakthroughs, but also for his business savvy. Jere Harris of PRG says this about him: "He's the toughest negotiator in the business! And he always had the big picture in sight."
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His is one of the names that comes up first when talking about people who are influential in the migration of studio technology to the stage, but it might surprise people to learn that he designed a system that allowed Tom Petty to record two albums playing with two bands as an ensemble as if they were onstage. In other words bringing the stage to the studio.
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Zac Brown seemed to come out of nowhere. I first saw the new King of Country four years ago on a gig called the Rock Boat – a floating festival with about 30 bands and a few thousand fans taking over a Caribbean cruise ship for a week. And I was impressed then. But I thought that with the bib overalls and scruffy longish beard, he stood no chance in a country music world that has become as obsessed with image and fashion as the pop world is. Too bad, right?
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I first had a look at the IM8 prototype at the NAMM show a couple years ago, but it wasn't until just a few weeks ago that I had a chance to get my hands on the IM8-40. Back at NAMM, I was told that the console was designed with houses of worship in mind – basically, because the mixing board has enough bells and whistles to satisfy a variety of mixing demands but is still very simple to operate. However, as I looked over the board, I thought it would work well in an array of operations outside of worship.
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Up for review this month is the APB ProDesk-4. I hadn't used an APB console before, so I was pretty excited to check this one out. Typically, the items out for review are something on the smaller side, but this one almost didn't even fit in my truck. You know it's a tight fit when you have to get out a measuring tape to see if it was gonna fit! But with a little finagling, we did get it to fit, and I got a chance to put the ProDesk4 through its paces.
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The challenges are numerous and ever-changing for those who slog it out in the pro audio trenches, and really there needs to be an award going out to every company out there who makes it through another year. But you, FOH gentle reader, have selected six who aren't just surviving, but are thriving. Gear, smarts, and passion are the common link, with an emphasis on the passion.
Read More »So I'm guest-mixing in a small club, and the changeover has begun, and it's our turn. I go to plug in the bass channel, and a huge boom goes through the system. I'm thinking, "That's weird; I muted the channel – it couldn't be a phantom power pop…" I go back to the desk, and the first six channels are lit up. Just to see what happens, I push up the snare channel, and sure enough, "Bagunk Bagunk" is the sound that is made as the fader passes through unity…
Read More »In his January 2010 FOH "Theory and Practice" column, Brian Klijanowicz discussed the concept of subwoofer time alignment. If you haven't read that article (or even if you have) you should revisit the January issue for a refresher. Brian pointed out the fact that venues often have physical constraints requiring less-than-ideal placement of top boxes relative to subwoofer boxes.
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Like so many folks involved in the live sound business, pMd Productions president Dave Kuhn got his start as a musician. "Back in high school [in La Puente, California, east of Los Angeles] I was in a bunch of garage bands. All my friends were pretty talented and got better at their instruments-and I did not," he laughs. "But I did have an affinity for our sparkly blue [Naugahyde] Kustom Tuck ‘N' Roll PA. So that's partly where I got the taste for live sound and for equipment."
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