MANSFIELD, TX — Charles Bonner of BAi, LLC (Austin, TX) and acoustician Andrew Miller worked with Dr. Russell Sanders, director of fine arts for the school district here, on a Meyer Sound Constellation system that would overcome acoustic challenges within the multi-use Cunningham Performance Hall of the Mansfield ISD Center for the Performing Arts.
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Every season has its distinct harbingers or signs of change. Most of us are familiar with the multihued colors of fall leaves, the first snowfall of winter (except in Las Vegas), the flowers of spring and the sizzling heat of summer barbeques. Equally important — if not more so — is the arrival of the sound season, which traditionally kicks off with school graduations.
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Definitely one of the hardest working bands in the business, quintessential American rockers Bon Jovi kicked off their 2013 “Because We Can” tour to a long string of packed SRO arenas, starting Feb. 10 at the Verizon Center in Washington, D.C. Named for the main single pull from the band’s current What About Now CD, “Because We Can” is perhaps Bon Jovi’s most ambitious live undertaking to date. The tour is appearing on five continents, including two early May dates in South Africa, as the band leaps up to a extended series of summer stadium shows, including a brief return to the States for five stadium shows in July before heading to Brazil and Australia later this year.
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Over the years, headworn microphones have evolved from clunky, low-fi affairs into lightweight, nearly invisible transducers capable of serious audio quality that can equal or best many handheld mics. Once mainly relegated to singing drummers and keyboardists, today’s headworn mics are more frequently becoming the choice of lead vocalists, classical soloists, live theatre performers, as well as for singers and spoken word in houses of worship applications.
To download the May 2013 FOH Buyers Guide, CLICK HERE
Read More »Long a regional player in Western Canada, KiAN Concert Sound Services has stepped up to play ball by investing in a Meyer LEO system. This because nothing other than a Meyer system will do, according to company president Mark Reimann.
Heck, he didn’t even have to listen to LEO system before he bought it.
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Over the past two years of FRONT of HOUSE, we have covered substantial ground with respect to subwoofers. Whether on the specifics of setting up a basic cardioid array or on how to design your own vented box, we have presented several nuts and bolts articles on the ever-important bottom-end that keeps sound reinforcement exciting.
This installment is very much in keeping with the previous practical articles on subwoofers. I am suppressing my inner egghead tendencies towards discussing topics like “phaser summation in the far-field,” or “radiation impedance,” and instead will look at a number of subwoofer configurations as they were implemented in the field of real gigs. We will briefly overview each configuration and discuss the implementation, and the goals behind the implementation.
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The word is out. At last month’s Musikmesse/Prolight+Sound show in Frankfurt (see report), Solid State Logic, a leading manufacturer of studio consoles and processing tools, has launched “Live” — its first console designed for sound reinforcement applications. This is definitely big news, but hardly the first time a studio-oriented manufacturer has entered the live console market, with notable examples being the Avid VENUE and PreSonus StudioLive series.
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In the early 1980s, there were no real solutions for musicians hearing onstage. With the support of the Who’s Pete Townshend, H.E.A.R.® (Hearing Education and Awareness for Rockers), a San Francisco-based non-profit organization, was instrumental in conducting the first public information campaigns on music hearing conservation throughout North American and worldwide media with MTV, PBS, BBC, Time magazine, Rolling Stone and many others.
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Onstage strings — meaning a real string section — are nothing new to rock shows, although this addition to the current Rush outing is a definite change. Another change for the continuing Clockwork Angels tour (the second leg of which kicked off on April 23, 2013, with Rush delighting a sold-out house of more than 16,000 fans in Austin’s Frank Erwin Center) was the band’s return to a number of markets not visited during the tour’s first leg, which began last September.
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Last month, I wrote about the role played by using near-field studio monitors during band rehearsals. This month I will concentrate on show applications for these small but very useful speaker systems. During rehearsals, I ran these speakers off the console’s monitor bus as one would in a studio. Once we are out on the road and working, I use a different output configuration to drive the near-fields. Because I don’t want the output signal interrupted whenever I PFL an input channel or AFL a VCA group or output bus, I put the near-fields on their own stereo matrix output, instead of using the console’s Monitor Out. The monitor function is reserved solely for headphones.
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The live touring season gets fully underway this month. There’s a lot riding on it because, while the housing market seems to be coming back, recorded music sales sure aren’t. Even with subscription and streaming services accounting for 15 percent of record business revenue in 2012, according to the RIAA, and digital revenue at 59 percent of total recorded music revenue, the big picture was down one percent from the year before.
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One of the more serious issues facing engineers who travel without production is consistency of audio quality — or lack thereof. When your entire audio chain is different every night, it’s tough to maintain a high standard of sound, and that’s not taking into consideration the drastic variations in acoustics from venue to venue. In an ideal world we’d all be able to use our preferred gear every night, but the reality is that when you’re relying upon promoter-provided production, it’s “sometimes peanuts, sometimes shells.”
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