FORT WORTH, TX — Tasked with the challenge of building a “top-of-the-line dance floor sound system and light show in a combination restaurant/lounge, and not have it look like you’re walking into a cavernous nightclub,” Diavolo Systems owner Tim Hannum overcame a sloped roof and other acoustic challenges for the 13,434 square foot Vee Lounge performance venue here with Martin Audio gear.
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ORMOND BEACH, FL — Danley dealer Protechs worked with pro audio veteran Marc Schwartz, director at the 600-capacity Ormond Beach Performing Arts Center, based here, on a sound reinforcement system that would do justice to the acoustic quality of the space, which opened in 1991 after an old church building had been retrofitted for the performing arts. The new system includes Danley SH-60s, Danley TH-115 subwoofers, and Danley SH-100s for front- and side-fill. An existing 40-channel Soundcraft console provides input to the system, which is powered by new QSC and Crown amplifiers.
Read More »VALENCIA, Spain — GUIL, a manufacturer of lifting towers, stages, stands and structures for the audio and lighting industry, is celebrating 30 years.
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Sound Co
All Tech Sound & Production Services
Venue
The Westin Copley Place Hotel
Boston, MA
People often say that FOH mixing more and more resembles studio production, which is true in some ways, yet in other aspects is about as far from the truth as you can get.
These days, more often than not, you’ll find a recording system at the mix position, whether it’s a hardware capture device like the JoeCo BlackBox recorder or a DAW running Pro Tools, Logic, SONAR or PreSonus’ Studio One. And other than vocal microphones, many of the instrumental mics used onstage are pretty much the same as you’d find in any well-stocked studio, with the exception of the studio technique of doubling-up with a second distant mic (usually a large diaphragm condenser model) used for room ambience. Not much need for that in a live situation, where we have so much ambience that somebody needs to figure out a way to seal it in a can and sell it to our studio counterparts. Meanwhile, back at the console, on-board effects and a plethora of plug-ins take the place of outboard racks in many cases — although not always so, as evidenced this month’s cover shot of the impressive FOH setup for the 2013 Muse tour.
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For years, students interested in learning about sound reinforcement had few options, usually limited to attending an audio program that was 95 percent devoted to recording, and barely touched on working in a live performance setting. Now veteran FOH engineer Rick Camp has developed Master Mix Live, a school devoted to training people in the art and science of live sound.
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The English trio Muse — comprised of Matthew Bellamy (lead vocals, lead guitar, keys), Christopher Wolstenholme (bass, vocals, keys, rhythm guitar) and drummer/percussionist/synthesist Dominic Howard, with the addition of keyboardist/percussionist Morgan Nicholls on their live performances — offer an engaging blend of electronica, metal, classical and space rock. So it’s little surprise that “no matter how many shows I mix for Muse, I never get bored!” declares the band’s front of house engineer Marc Carolan. “It’s a very involved mix, and you can jump genres quickly, sometimes within a song.”
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