OZARK, MO — SLS Loudspeakers has announced the appointment of Seattle-based First Choice Marketing, Inc as its northwest manufacturing representative and distributor. The new appointment is effective for Washington, Oregon, Arkansas, Northern Idaho, Western Montana, Colorado, Utah and Wyoming.
Read More »CHICAGO, IL — A scam artist pretending to represent "Weird Al" Yankovic has recently bilked a number of Chicago venues out of thousands of dollars, with scammed venues including Fitzgerald's, in Berwyn Ill., Goose Island Breweery, in Chicago, and the Rain restaurant & Lounge in Geneva, Ill.
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WEDEMARK, GERMANY — Sennheiser wireless products celebrate their 50th anniversary this year, as the first Sennheiser transmitter (Photo above), which had a short life span because it required a tube and far too many batteries, was created in 1957. The follow-up, the Sennheiser SK 1002 pocket transmitter, introduced in 1958, was considerably smaller thanks to transistors.
Read More »ANAHEIM, CA — The world premiere of Primal Twang, a theatrical music production that highlights the legacy of the guitar, debuted at San Diego's North Park Theatre September 7-10, 2006. Rental sound company Meeting Services provided a HiQnet sound reinforcement system for the performance, which included JBL Professional's new VP (Venue Performance) Series loudspeakers, as well as the Soundcraft Vi6 digital console.
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LONDON — Detailing the untold story of the witches of Oz, Wicked is directed by Joe Mantello, with music and lyrics by Stephen Schwartz and sound design by Tony Meola, with equipment supplied by London's Autograph Sound Recording and including an 84-slot Cadac J-Type Live Sound Production Console.
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RIO RANCHO, NM — The Lectrosonics IFBT4 (Interruptible Fold Back) base-station transmitter replaces the analog IFBT1 unit and is a 250 mW Digital Hybrid Wireless transmitter for IFB and other types of radio links such as camera hops, relay stations and delayed loudspeakers. It is compatible with all Lectrosonics 100, 200, 400 and IFB receivers, along with receivers from two other manufacturers (contact Lectrosonics for details). In 400 mode, the IFBT4 and associated receivers operate without analog companding artifacts. The IFBT4 is designed for use in broadcast, motion picture, theatre and stage applications. The IFBT4 can be used as part of a stand-alone system or patched directly into intercom systems. A "tuning" mode is included so that the transmitting frequency can be selected without broadcasting.
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BERKELEY, CA — Meyer Sound has brought a new manufacturing facility, named Phoebe, online in Berkeley, Calif. Since being founded by John and Helen Meyer in 1979, Meyer has dictated that manufacturing take place at the company's headquarters in Northern California. The company's first years were spent at a location in San Leandro, but since 1984, manufacturing has been performed at the company's base in Berkeley.
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KNOXVILLE, TN — Chilhowee Hills Baptist Church's main sanctuary has just been tripled in size and volume, as designed by architect Bill Denton, and worship pastor David Stewart selected Audio Ethics to perform the install.
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GREENSBORO, NC — Just for Him Ministries is a faith-based ministry that travels nationally and serves as an outreach program to assist families in need by helping them connect with their local church, and in addition to carrying its own staging and lighting equipment, the organization recently purchased a sound reinforcement system featuring TrueLine line array elements from WorxAudio Technologies.
Read More »COSTA MESA, CA — QSC Audio Products has extended a licensing agreement with Cirrus Logic that will allow the manufacturer of power amplifiers, loudspeakers, signal processing and digital signal transport systems to begin producing products employing Cirrus Logic's gigabit Ethernet-based CobraNet technology. CobraNet technology is designed for delivering uncompressed digital audio via Ethernet networks.
Read More »[A few months back, we ran an article in this space detailing the infamous "$300 Gig" and what it really costs you to take it. Well, everything is relative, and recently one of our Anklebiters took a gig that, for all intents and purposes (and disregarding the low-five-figure payout), was a $300 Gig. In the end, the client got way more than he paid for, and the soundco had destroyed their relationship with the company that supplied much of the gear, pissed off a bunch of crew members and earned very little money for a full week of work. Let's take a look at what went wrong and what can be learned from it. –ed.]
Read More »We have trod upon this ground before, but I keep seeing things that make me remember that it is not usually the big expensive whatever that sends a show south. It is usually something small that just got overlooked. Here are a few recent examples.
The first was a bonehead move on my part. I was playing out and trying to get a good audio recording of the gig for demo purposes, and do so without having to ask the house sound guy to change anything he was used to doing or use any unfamiliar gear. A lot of thought and wiring went into building a rack that could feed the house, provide our PM mix (which actually freed up the house guy who had been running mains and two monitor mixes from a sideof- stage position) and feed an Alesis HD24. Got it all done, but failed to really think through the internal routing of the mixer until — of course — I was driving home from the gig. So I ended up with a pretty unusable recording. At least I know how to do it right for next time. I think. Ask me when I get home from that one.
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