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James Taylor runs a quick sound check before the show, using his customary single IEM in left ear and stage wedge on his right side. Photo by David Morgan

Small, Intimate and Totally Special

Last week, I was in downtown Los Angeles, for the significantly downsized James Taylor tour, for his appearance at the Grammy Museum’s 200-seat Clive Davis Theater. This particular event represented a sharp contrast to the concert that had immediately preceded it. Our final stop on this summer’s tour had been a spectacular outdoor show for 35,000 adoring fans at Boston’s Fenway Park. However, as special as the evening at Fenway was for the thousands who attended that show, this Grammy Museum performance, in a space that felt slightly larger than a living room, was also truly memorable.

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A huge turnout of audio pros is expected for this month’s AES Convention at New York City’s Javits Center.

AES Show Returns with its Live Focus

Last year, at the AES Show in Los Angeles, sound reinforcement took center stage for the first time. Literally. A stage was set up in the Los Angeles Convention Center, and a wide array of manufacturers hung their gear from the rigging. We’ll likely see that again this year at the Javits Center in New York City, when the AES Show arrives there October 29 to November 1 with the Live Sound Expo intact and apparently bigger than before.

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Fig. 1 - Three important markers in defining dynamic range: noise floor, operating level and clipping.

Dynamic Range: Can of Worms, Anyone?

Someone recently asked me to explain dynamic range. Answering this question reminded me of a quote attributed to Supreme Court Justice Potter Stewart regarding obscenity: “I know it when I see it.” In describing dynamic range, I can substitute the word “hear” for “see.” Nevertheless, my editor here at FOH would undoubtedly prefer a more concrete explanation.

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Wedges vs. In Ears

Wedges vs. In-Ears

In 2015, it’s a seemingly age-old question: Wedges or in-ears? Having been around for decades, and having been embraced by the world’s most popular artists, it almost seems like in-ear monitors are a foregone conclusion. They are the standard for onstage monitoring. Or are they? It’s still a question that a lot of churches wrestle with, and I for one have not transitioned 100 percent of our monitor mixes over to IEM’s. There are still some situations where wedges excel over IEM’s, and not everyone’s console is capable of generating 24 auxes worth of stereo ear mixes.

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Illustration by Andy Au

Join the Army and See the Audio (Part 2)

An Interview with Staff Sergeant Javier Sanz

An audio technician friend of mine recently re-enlisted in the Army, and over the years has been totally positive about it; he was getting a great education and there are many audio opportunities available in the services ranging from recording to live sound. Last month, we began a conversation about some of his experiences supporting military bands — both stateside, and overseas (FRONT of HOUSE, Sept. 2015, page 60).

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FOH editor George Petersen

The Leap of Faith: H.O.W. System Upgrades

All faiths share a common thread of spreading the message. Now exactly what that message is may vary considerably among church members and different religions, but every church can be helped in that endeavor with a sound system that provides clarity and intelligibility to the message and ensuring that every member of the congregation can receive the word.

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