DETROIT – Recording in the middle of a busy convention space with a crowded RF environment presents a unique set of challenges. Armed with a Shure FP Wireless System, VP68 and SM58 handhelds and a WL183 lavalier microphone, automotive blogger Horatiu Boeriu was able to record interviews with BMW designers despite heavy background noise.
Read More »LIVERPOOL — Adlib’s Sales division, based here, has been appointed a U.K. distributor for Coda Audio’s ViRAY and TiRAY product ranges.
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SAN PIERO a SIEVE, Italy — K-array’s open house here April 2-3 gave the company a chance to showcase to products and build relationships with customers. The two-day event, organized by K-array and Exhibo, the brand’s distributor in Italy, included presentations by executives along with hands-on demos and a visit to Verona Arena, where the gear is installed.
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WAYNE, NJ — The Beth Israel Worship Center, in its present New Jersey location since 2008, recently called on Dominick Campana of Pro Sound Associates in Guilderland, NY to upgrade its main sound system. Based upon the needs of the congregation and staff, Campana installed a complete QSC sound reinforcement system including WideLine-8 line arrays, PowerLight 3 Series amplifiers and an SC28 Digital Signal Processor.
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SPRING HOUSE, PA – Gwynedd-Mercy Academy, based here, was looking for a permanent audio system for its large, multi-purpose gymnasium facility. Tony Albano of Naaman’s AV in Avondale, PA worked with Sal Scinto, a music teacher at Gwynedd-Mercy Academy who also runs the theater program, to find a solution for the space. The new system includes Community VERIS2 and R-Series loudspeakers.
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DAYTON, OH – Summit Pro Works, based here, has added a new Meyer Sound LYON linear sound reinforcement system to its rental inventory. The system includes 16 LYON-M main line array loudspeakers, eight 1100-LFC low-frequency control elements and two Galileo Callisto 616 array processors. The LYON investment bolsters the company’s Meyer Sound inventory to 100+ units. Summit Pro Works CEO Rob Snyder is pictured here.
LOS ANGELES – Behringer’s X32 Digital Mixing Console and S16 Digital Snake are pulling double-duty for indie pop band Capital Cities as they tour in support of their multi-platinum single, “Safe and Sound.” The X32 not only serves as a live and studio mixing console, but also includes a number of effects processing and digital routing options. FOH Engineer Jason Stiegler noted that with the X32’s remote control capability, band members can use iPhones to adjust their mixes. As a result, “we are able to tour without a monitor engineer,” he said.
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SPRING HILL, FL – Spring Hill Baptist Church, based here, recently installed a VUE Audiotechnik al-4 Subcompact Line Array System as part of a major audio system upgrade. Predictable pattern control was an important factor in choosing the gear, helping Atlantic Pro Audio overcome acoustic challenges that included a relatively narrow sanctuary space, a rear balcony and lots of reflective surfaces.
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WINNIPEG, MB, Canada – Pop-rock band Hedley is in the midst of their cross-continent Wild Live tour of Canada, joined by a Meyer Sound LEO system from Richmond, BC-based KiAN Concert Sound Services. The typical configuration for smaller venues is 12 LEO-M line array loudspeakers per side, which increases to 15 per side for larger arenas. Available as needed are 24 MILO, 12 M’elodie, and two MICA line array loudspeakers for outfill, front-fill, and downfill applications, respectively.
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LONDON – Ed Furguson, sound manager for the London National Theatre, who also served as associate sound designer for the musical The Light Princess (pictured here), worked with Simon Baker to determine a piano microphone solution that would meet the needs of both the venue and the production. After extensive tests, they opted for Earthworks’ PM40 PianoMic.
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BELGRADE, Serbia – Live Monitor Engineer Daniel Gonzales has been using the Waves Mercury and SSL 4000 Collection SoundGrid bundles when mixing monitors for Beyoncé. He credited the plug-ins for helping him to “compress things subtly and take the edge off many of the inputs; this way I can even out Beyoncé’s mix and create space for the ‘loud’ moments while keeping her vocal on top the entire time.”
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