INDIANAPOLIS — Sennheiser RF gear helped the audio crew at 2012’s Super Bowl XLVI breathe a little easier as the complex sports and entertainment combo scored a record number of viewers. Country music singers Miranda Lambert and Blake Shelton also used Sennheiser mics to kick things off with their rendition of “God Bless America.” Madonna and crew also used Sennheiser gear for their Halftime Show performances.
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PHILADELPHIA — Built in 1891, Baptist Temple has been transformed into the Temple Performing Arts Center to serve as a principal performance venue for Temple University. The $30 million theatre overhaul included an installation of a Meyer Sound M’elodie line array loudspeaker system.
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FRANKLIN, TN — CTS Audio, based here, a beta tester for Harman’s JBL HiQnet Performance Manager, has found the audio system design software helpful in reducing setup time and improving system performance.
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WICHITA, KS — Galaxy Audio, which is marking its 35th year in 2012, also named Yule Jabara, pictured here, as its Chief Executive Officer. Yule Jabara is taking over in the role previously held by Brock Jabara, his father, who invented the Hot Spot over 40 years ago and founded the company five years later.
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ISTANBUL, Turkey — Elit Light & Sound Technologies, DiGiCo’s Turkish distributor, provided a DiGiCo SD9 console to support the audio needs for the annual finals of the Halıcı Computer Aided Composition Contest. The event was held at the Babylon venue here late last year.
Read More »AUSTIN, TX — Alcons Audio and StageTech, Inc. are supporting the audio needs of the IFC Crossroads House at the Vice Bar venue, part of the SXSW (South by Southwest) festival set for March 13-18, 2012. Alcons Audio is also kicking off its “Pro Ribbon Experience” gear promotion. The system showcased at the festival will consist of the LR14 and LR14B line array system complemented by BQ211 21-inch carbon fiber subwoofers. Power and processing is handled by the Alcons ALC series amplifiers loaded with the “DDP” 24-bit digital drive processors.
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WISBECH, U.K. — DiGiCo had 5 Star Cases build a promotional “sideboard” for the 2012 trade show season. The brief was that it must accommodate a screen measuring a minimum of 46 inches, complete with Blu-ray player, laptop docking station, coffee maker and an integrated loudspeaker system, with power sockets included.
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Since its introduction less than two years ago, Martin Audio’s revolutionary Multi-cellular Loudspeaker Array (MLA) has won accolades and nearly every industry award. Horn loading has always been Martin’s hallmark and recent heritage also includes the large-format Longbow and medium-sized W8LC line arrays.
Read More »Now that the Grammys have come and gone we can all go out and buy Adele’s 21, Foo Fighters’ Wasting Light, Skrillex’ Scary Monsters, Taylor Swift’s Speak Now, Bon Iver’s Bon Iver, Tony Bennett’s Duets II, The Civil Wars’ Barton Hollow, Alison Krauss’ Paper Airplane, Corea, Clarke & White’s Forever and maybe even Kanye West’s Twisted Fantasy since they all won multiple awards.
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When the envelopes were opened for the 54th annual Grammy Awards Show on Feb. 12 from the Staples Center arena in Los Angeles, there were few surprises between Adele, Foo Fighters and Taylor Swift. But at the ends of the fiber optic snake, there was a big one. After a decade with the venerable (and recently discontinued) Yamaha PM1D console at the FOH and monitor mix positions for the Grammy Awards telecast, DiGiCo’s SD series desks made their first appearance on “Music’s Biggest Night,” and did so in force. If the Grammy’s tendency to stick with technology platforms consistently for long periods continues to hold true — the Yamahas were there for nine consecutive years — expect to see these British imports in place for some time to come.
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Do you remember the 1980s? Riding along in the back lounge of the audio bus, solving the world’s problems and wishing for a console with “total recall.” Those of us old enough remember the massive effort it took to “chart” an analog console so you could “dial it up” on a different desk. Oftentimes, multiple opening acts would share the same console, requiring the “dial up” procedure to happen during set change, which was always nerve-wracking and prone to mistakes. The idea of a console that could recall a complete setup with the push of a button was a “pipe dream” that defined the distant future of audio mixing.
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Other than dead silence, feedback must be the most hated thing in professional audio. Those little blasts, often at higher frequencies where the ear is very sensitive, disrupt the performance and draw attention to the technology behind it. Feedback has been with us since the speaker first met the microphone, and is something every practitioner of the art has had to face. As long as loudspeakers are returning sound information back to presenters and performers, the potential for feedback will remain. In this article we’ll unpack this pesky beast that forcefully inserts itself into monitor wedges and lapel microphones. We dive into how a monitor loudspeaker’s response can change based on the listening location and how these response changes influence monitor wedge performance.
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