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The Radius family (L-R) includes the RSX12 subwoofer (at top of array), RSX208L line array modules and RSX12 and RSX8 point source speakers on top of the RSX18 single-18 sub. At bottom right is the RSX12M coaxial-12 stage monitor.

Eastern Acoustic Works Radius Loudspeakers

Audio manufacturers unveil new lines of gear — particularly speakers — on a fairly consistent basis. After all, technology marches forward and change is an inevitable part of life in the pro audio lane. While newer designs can incorporate more powerful, more feature-laden elements, the downside of any new technology — whether in the form of smartphones, audio over IP or advanced sound reinforcement systems — is that all this sophistication is nice, but only if it is also is easy for the user to access and use in everyday situations.

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Smartphone use is increasingly becoming an issue at live events.

Put That Phone Away!

The smartphone giveth, and the smartphone taketh away. The proliferation of video cameras in connected phones was a boon to the music industry, which early on saw it as a replacement for MTV, a way to put artist clips in front of every Facebook and Instagram user on earth and stimulate ticket sales. But as smartphone proliferated, those clips became more like leaks in a boat than floats for it. Besides, artists were noticing that concertgoers were standing or sitting in front of them but staring into their phones instead of the stage. Talk about an ego deflater. Richard Branson, the Virgin impresario, has criticized contemporary music shows as “soulless,” where “everyone stands around looking at their phones.”

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Basel, Switzerland’s z7 is an example of a venue where a great staff can do a lot to make for a great show.

What Really Makes a Good Venue?

There are a lot of things that can make a gig bad: the weather, delayed or canceled travel (and the accompanying stress) and equipment breakdowns all come to mind. But when someone asks, “How was the show?” the reply is never “the weather was great” or “my flight was awesome, especially the sponge bath I had in Business Class” or “none of the gear exploded” (hmmm… anyone remember Phase Linear amplifiers?). Most often, what makes a great gig is the people who work it.

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Audio Networking for Churches

Audio Networking for Churches

If you have purchased a single piece of digital audio equipment over the past few years, you’ve likely had to consider audio networking when thinking about how it would connect or integrate into your sound reinforcement system. Sure, you could continue using analog audio interconnects, or even AES/EBU or MADI, but the ubiquitous nature of protocols like Dante and AES67 must have you wondering about their benefits. In fact, audio networking has come a long way since CobraNet’s heyday. Not only is networked audio more affordable than ever, it’s easier to configure, easier to manage and within reach of any sanctuary with a reasonable audio budget.

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Illustration by Andy Au

When I’m 65

It’s finally happened. The day that always seemed so far away has arrived with not quite as much fanfare as I had imagined, but certainly with more impact than I was prepared to receive. That’s right; I turned 65 years of age and while my inevitable demise is not as imminent as my life insurance policy makes it seem, the implications — as well as the realities of my chronological calculations — have sunk in. I am old, and the beginning of my twilight years has officially commenced.

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FRONT of HOUSE editor George Petersen

Summer Daze

Way back in my starving student days, summer didn’t mean three months of beach parties, but pouring on any additional work I could muster to self-finance my education. As an IATSE Journeyman, I could snag projectionist work, either running theatrical films or events ranging from closed-circuit, big-screen TV sports (mostly boxing matches) or corporate/convention gigs, for clients ranging from Mary Kay cosmetics to traveling spectacles designed to persuade car dealers to order more new Lincoln Continental models in the fall. And there was plenty of drive-in theater work, in case I wanted to do the 8 p.m. to 3 a.m. shift. There was also an additional hour’s pay each day to walk around the field with a cart full of parts to fix the clip-on 4-inch door speakers that customers liked to abuse in every conceivable manner.

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