It is an age-old question for a house of worship audio engineer or technical director: Headsets or Lavaliers? As with most things in audio, the answer is, “It depends.” It depends of what you’re using the mic for, how discreet it needs to be, the personal preference of the pastor or performer, the gain before feedback and monitoring requirements, your current inventory and other factors.
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An (Audio) Transformational Experience
Great Hills Baptist Church has long been a cornerstone of Austin’s faith community. Located in a town long known for its deep involvement in music, this vibrant and growing congregation definitely needed a high-fidelity sound system to suit the needs of parishioners in the church, which seats approximately 2,700.
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Last month, I discussed first deconstructing and then re-imagining the input channel settings for one our touring acoustic guitars. That article focused on using the various tools available within the DiGiCo SD5 mixing system. I re-auditioned and modified the onboard settings for channel delay, tube emulation, parametric equalization and dynamic equalization and the Waves V-Comp compressor plug-in.
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In order to bring the music of iconic hits to audiences around the country for the U.S. touring production of the musical, The Bodyguard, sound designer Richard Brooker created a dynamic and powerful audio system that was provided by Masque Sound, a leading theatrical sound reinforcement, installation and design company.
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The Ten Dumbest Questions You May Need to Ask When Advancing a Gig
Every once in a while, I need a reality check. Apparently that time is due. As professionals, we ask certain questions when advancing a gig, and often those questions are the same, regardless of whether the gig is an arena, a festival, a theater or a club. Sometimes issues that we don’t anticipate catch us by surprise and make for an unpleasant day. Unfortunately, some such issues were raised at a recent gig, where the house “tech crew” (we’ll be polite here) was extremely unprepared. I thought those days were over, but apparently they are not, thus we have to ask The Ten Dumbest Questions You May Need to Ask When Advancing a Gig.
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Keeping Local Music Loud and Clear in Memphis
There’s no shortage of music in Memphis. And where there’s live music, there’s a sound reinforcement company. Profound Sound has helped keep the local music plugged in and playing loud and clear for the past 27 years. Owner William Floyd founded the full-service sound reinforcement company in January 1991. He now shares operating duties with his main employee, Joe Brown, and hires extra support when needed. The company also rents backline and small systems.
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Three Decades of Trailblazing Excellence
In 1987, Yamaha unveiled the DMP7, a groundbreaking digital mixer featuring channel parametric EQs, two internal effect processors, a stereo compressor, advanced scene memory that allowed instant recall of multiple mix setups and unique motorized faders that moved with each recall. The DMP7 also represented a significant company milestone as its first digital mixer, providing a solution for professional keyboard players and also for those mixing in live and studio situations.
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InfoComm (infocomm.com), North America’s largest audiovisual trade show, welcomed more than 40,000 visitors for the first time in its history at the 2017 event, held in Orlando, FL from June 14-16. By the time the doors closed for the week, InfoComm 2017 had logged 44,077 registered attendees from 50 states and 117 countries.
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I like InfoComm. I like it a lot more since the floor planners put the audio area next to the lighting and staging area. It made a lot of sense and should have been done years ago. What did this accomplish besides cutting down on the number of steps I took? Well, it added a lot of traffic to the lighting and staging pavilion. I had many lighting and staging exhibitors tell me it was one of the busiest shows they’ve had there.
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