Production/Tour Manager Traveled the World with Queen, Madonna and Others
When speaking of the earliest days of what we now call “live event touring,” those who lived it often refer to it as “the Wild West.” That makes Chris Lamb, who is still never without boots and a cowboy hat, one of the original cowboys.
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Six Regional Audio Providers Make it to the 2015 Parnelli Ballot
The readers of FRONT of HOUSE have voted, and we have six finalists in the Parnelli Awards Hometown Hero category for the hardworking death-defying audio companies that cater to five U.S. regions and Canada.
New Phoenix-area Venue Marks First EAW Anya Install in a Club Environment
In the heart of Scottsdale, Arizona’s entertainment district, LiveWire has quickly become one of the most sought-after venues in the Southwest. Since opening earlier this year, LiveWire has hosted national touring acts, comedians, artists, DJs and up-and-coming local bands.
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I’m riding over to DPS’ warehouse from their HQ in Burbank with Robert “R.J.” Lynn in his Audi and director of marketing Alan Sherin. At a stop light, founder and consultant Anthony Dever pulls up in his Tesla, rolls down his window and jokes, “Wanna race?” Lynn, DPS general manager, laughs and points out that maybe that’s not prudent, cop-wise. The light turns green, and Dever hits the pedal, if only for a short spurt.
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When I was asked to write a review of KS Audio’s CPD 14, I have to admit that I had never heard of the company before. In fact, most of my colleagues that I asked hadn’t heard of KS Audio either. I only found one person who knew the name KS Audio, and when I mentioned their name, his response was that they “make amazing studio monitors.” For a company that has been around for over 30 years, it seemed no one really knew much about them, so I spent the past few weeks getting familiar with their product line, including the speakers that I’ve reviewed here, the CPD 14.
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Once upon a time, old timers will remember when “one dollar per watt” was considered either the benchmark or goal of many amplifier designs. Well, thanks to switch-mode, Class-D technology, those days are long gone, and today’s models continue to improve on that, both in terms of increasing onboard DSP functionality and higher power levels in smaller, more lightweight packages.
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I am now enjoying my eleventh year mixing FOH sound for James Taylor and his Legendary Band. I have come to believe the word “Legendary” doesn’t begin to describe the musical talent present on the stage each night. Throughout his career, James has always assembled an astounding group of musician’s musicians who each contribute their wondrous virtuosity to the performance.
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Two years ago, I wrote about the just-completed IPO of SFX, venture capitalist and entrepreneur Robert F.X. Sillerman’s market capitalization of his electronic dance music empire. It’s a good time to take a look at how that’s turning out.
Read More »Last month, we talked about the nuts and bolts (parameters) that you’d find in a typical delay, whether it be the plug-in or the hardware variety. This month I have some tips and techniques that you are free to borrow if you promise not to tell anyone about them. The editors of FRONT of HOUSE are already sworn to secrecy. But before we get into specifics, we need to mention one last characteristic of delay.
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I started off my house of worship technical career almost a decade ago as a FOH audio engineer at the same church I still work at today. At the time, there was a different technical director, and I would simply walk in on Sunday mornings, mix and go home. It was an enjoyable, low-stress gig.
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It amazes me how many schools and colleges now offer audio engineering as a degree program. Quite a few of the resumes I receive from aspiring applicants list a diploma from one of these programs, but while there is great merit in having a degree from one of these schools, there is no assurance the holder of said degree will land the coveted television show or studio position they desire.
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