While we come into this office every day, we’re still live sound guys,” laughs J.P. Boucher, COO. “We don’t want to read a 200-page manual on how to operate something and we know the people out there mixing or installing sound don’t either. Another thing that sets us apart is when you call, a real person will help you through any issue on any product or situation. And I wake up every day loving this job!”
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History was made back in October 14, 1974, when the now-landmark PBS series Austin City Limits kicked off with the taping of its pilot episode, featuring a performance by the then-not-quite-iconic Willie Nelson. After first airing in 1975, the public’s reaction to the show was nothing short of sensational.
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For this month’s technical column, we diverge from the more traditional topics of speakers, arrays, electronics, etc., to talk about a topic extremely important to the longevity of the pro audio industry, that of event safety.
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In-ear listening/monitoring systems have made a major impact in the way concerts are presented. A rock-solid wireless transmitter combined with beltpack IEM receivers and accurate earpieces can significantly improve nearly any show or presentation. Not only can performers hear themselves far better than stage wedge mixes, IEM use results in lowered stage volume. With a great IEM mix, the FOH engineer’s task becomes simpler, audience get better sound and artists are happy — a definite example of a win-win-win-situation.
To download a PDF of the FOH August 2014 Buyers Guide, CLICK HERE
On first look, the new Peavey PVXp 12 seems like just another entry into a scene crowded with molded speaker enclosures. But don’t let first impressions fool you. Upon closer inspection, the PVXp 12 has a lot of good things going for it.
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From a user standpoint, one of the downsides of reading reviews is perusing a discourse on some state of the art, megabuck 96-channel digital console when you’re getting by on a 16-channel desk for the shows you mix at your church, community center or Elk’s Lodge. “If only I could afford something cool that I just read about,” you might be thinking. Well, now you can.
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After nearly two months of mixing James Taylor shows on DiGiCo’s SD5 console, I have evolved from an awkward neophyte to an experienced user. During this time I have also become a devoted DiGiCo believer. My appreciation for the audio output I am able to create with the SD5 grows each day.
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Music festivals are big business. Coachella, Lollapalooza and Bonnaroo — the three largest franchises in the U.S. — took in over $20 million in ticket sales each, contributing to what’s become a $4.3 billion live music market here, representing way more than half of the entire music industry’s total value in an age of still-declining recorded-music sales.
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Summertime is touring time and hopefully you’ll be busy, busy, busy. Before departing for your next overseas soirée, here are some things to contemplate.
#1: The Voltage Over There Ain’t the Same as Here
Unless you’re going to Canada or Mexico, expect the AC mains voltage to be different from that in the U.S., which in theory is 120 volts AC with a frequency of 60 Hz (in practice it varies from 110 to 120 VAC with an average around 117 V). Let’s examine voltage as it relates to two popular power supply types used for audio and MI gear: external “wall wart” and internal.
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It has been my general experience that many — though certainly not all — houses of worship will wait until their house sound systems are completely falling apart before they consider investing in a new one. Well, I’m here to tell you that you don’t have to wait that long to upgrade (or completely replace) your church system. For that matter, you simply have to use your ears and check the worship house bank account and you will know whether it’s time. That said, you sometimes only have to upgrade a single piece of gear or two to make a huge improvement in the sound of your system.
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Years ago, I played in a “Top 40” band that traveled from hotel to hotel amusing a drunken clientele with very good covers of the popular tunes of the day. To stay current with the newest tunes and thus ensuring our income, we would read Billboard magazine and learn the most up-to-date tunes as they entered the charts. Most tunes that finally topped the charts usually started out in a lower position and worked their way up. Some tunes moved up the charts quicker than others while others dropped off the charts without ever climbing very high.
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LAS VEGAS — The 2014 ballot that forms the basis of the Hometown Hero Sound Company of the Year competition has been finalized. It’s posted online, and the voting process, which extends through Aug. 31, has begun. Follow the jump to find the link to the 2014 ballot for sound companies vying for Hometown Hero honors.
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