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O Christmas Tree

Yolanda Williams was among the performers at the event. Photo by Lawrence Jackson

O Christmas Tree

Three months after my shoulder surgery, it was time to go back to work. Physical therapy has been going very well, and the range of motion in my left arm has almost returned to normal. Believing I was strong enough to get back behind a console, I accepted a job mixing FOH for the National Christmas Tree Lighting in Washington, D.C. Having spent nearly all my career as a touring specialist, I have never been extremely comfortable doing this type of one-off special event, and I often decline when these positions are offered. There are many engineers who have far more experience in this specialty and may be better qualified to pull off these potentially chaotic productions. Then again, I had worked a couple of events for the production company that contracted me, and both experiences were very positive.

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A few bands, including Journey, have given the crew video screen credits while on tour. Photo by Steve Jennings

Putting Live Credits Where Credits are Due — On Screen

I’ve previously written about the importance of credits in the fields of technology arts. Earlier this year (FRONT of HOUSE, July 2016, page 40) we discussed the significant benefits of having work credits available in some form or another. Aside from the satisfaction of recognition that comes with a job well done, there are the more tangible rewards when those credits act as calling cards and résumés. Allowing potential employers to identify and track down someone who got “that” sound on a record is what leads to the next gig and the next one. It’s how careers are built.

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Fig. 1: Ideal for live audio applications, Antelope Audio’s LiveClock generator can reshape incoming word clock or supply stable internal word clock to multiple digital sources.

Tick Tock, Where’s The (Word) Clock?

Last month (FRONT of HOUSE, Nov. 2016, page 41), we discussed the concept of word clock. Here’s the highlight reel:

• Almost every digital audio device has an internal word clock

• All devices sharing digital audio must be synchronized to the same clock or we’ll hear noise, distortion or glitches

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Non-custom, universal-fit earpieces — such as these Future Sonics Spectrum Series model G10 — are a popular choice for most house of worship monitoring applications.

IEMs in Houses of Worship: Taking the Plunge

In-ear monitoring systems are a very mature product in 2016. All types of musical performers, including those in houses of worship, have embraced in-ear monitoring as their go-to stage monitoring solution. The benefits of IEMs are well known, although there are many singers/vocalists who prefer wedge monitors. Without regurgitating what has already been written countless times about in-ear monitoring, here’s a quick overview of some of the pros and cons of IEMs in general, and we’ll examine some questions and issues that often arise when introducing IEMs into the H.O.W. environment.

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Illustration by Andy Au

Expanding Fortunes

One day, in the not too distant past, I found myself wondering if I had stepped into an alternate universe. I was providing a monitor rig to the morning TV show, Live with Kelly, consisting of a microphone package — including a few wireless mics, a console, a split snake, in-ear monitors, monitor wedges and a tech to set it up and run it. Over the last 15 years, as the show morphed from being Regis and Kelly to Kelly and Michael to just Kelly, I — as an agent of S.I.R. NY — have been one of the show’s main providers of backline and audio for incoming bands that were in need of a monitor package of more than two or three mixes.

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Biamp's Matt Czyzewski is promoted to president/CEO.

Biamp’s Matt Czyzewski Promoted to President/CEO as Steve Metzger Steps Down

BEAVERTON, OR – Biamp Systems’ has promoted Matt Czyzewski to president and CEO as Steve Metzger leaves the company after seven years of leadership. Czyzewski, with more than 20 years at Biamp, inherits a new factory with expanded capacity and a strong management team positioned to carry the business forward just as it begins shipping their new video platform, TesiraLux, in late January 2017.

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Greg Shade.

CAD Audio Names Greg Shade Western Regional Sales Manager

SOLON, OH––CAD Audio has appointed Greg Shade as western regional sales manager. In this new position, Shade will be responsible for all CAD, Astatic and AIMM dealers in the Western US in terms of MI, pro audio and installed sound. He will oversee the company’s independent rep firms and will be the direct point of contact between CAD dealers in the region.

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Gavin Tempany, freelance concert engineer. 
Photo: Gavin Elder, taken on David Gilmour tour.

Audient Audio Interfaces Mix Live and Studio

OXFORD, UK – Gavin Tempany, monitor engineer for the legendary Pink Floyd frontman David Gilmour, pop singer-songwriter Will Young and many others, is using Audient USB audio interfaces, iD22 and iD4, in his worlds of live sound and studio recording. The iD4 – the smaller, more portable of the two – has already become a fixture in his mobile gig bag. Tempany discusses his use of Audient products in the studio and on the road.

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Audinate Offers Dante Training at NAMM 2017

PORTLAND, OR – Audinate and NAMM have partnered to offer Dante training events at the 2017 NAMM Show. Classes run Jan. 19 through Jan. 21 at the Anaheim (CA) Convention Center and feature the topics: Digital Audio Networking, Introduction to Dante, and Training: Intermediate Dante Concepts. In addition, more than 50 Dante partners will exhibit and showcase their latest products as well.

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Firehouse Productions provided a full L-Acoustics K1/K2 system for the fifth annual Global Citizen Festival held in NYC’s Central Park in late September.

Global Citizen Festival Rallies Humanity with L-Acoustics

NEW YORK — Firehouse Productions supplied an L-Acoustics K1/K2 rig for the fifth annual Global Citizen Festival, an event organized by Global Poverty Project and staged on the Great Lawn of New York City’s Central Park. The set design, which accommodated the television broadcast and positioning of I-Mag video screens on either side of the stage for the audience, was a challenge for the sound system. The positioning of the delays was also limited as they could not be located on the grass. L-Acoustics met the challenges.

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Bill Evans.

DPA Microphones Tour with Sax Legend Bill Evans

HALLE, Germany — Saxophonist Bill Evans, who performed with Miles Davis in the 1980s and is also a longtime member of the jazz fusion band, Elements, has relied on DPA Microphones’ d:vote 4099S Instrument Microphone for Saxophone for his live shows around the world. He used it for the first time this past summer on his tenor and soprano saxophones for 26 concerts in Europe and says he has not looked back.

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