In the past decade, houses of worship have undergone a transformation. Production values have gone through the roof. An entire sub-industry has popped up to service the house of worship production market. Visit any industry trade show — whether NAB or this month’s InfoComm — and you’ll see entire segments of the show floor (or seminars) devoted to house of worship production.
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Well folks, as of this writing, it is once again the time of season. The trucks are loaded. the buses are rolling and the tours are well underway with audio rigs small and large flying off the shelves and onto trusses everywhere. Engineers are back in the groove with full time work, and sheds and venues around the world are filling up with fans willing to spend their hard-earned cash to see and hear their favorite bands overwhelm them with hit tunes played through some of the best sound systems money can buy.
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There’s no doubt that audio installations and upgrades within large sports facilities typically present integrators and sound designers with severe challenges. Perhaps by far the most formidable is the sheer scale of multiple coverage areas. The latter not only entails the enormous, cavernous open-air spaces, but also delivering an acceptable listening experience to everyone occupying in the seats, whether fans are courtside or in the upper “nosebleed” seats of an arena or — in a stadium project — on the grandstand, bleachers, end-zones or beneath the second/third deck.
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Last month, I made the statement that money makes the world go round. Maybe I was being hasty in that, but with our staff having endured two not-too-coincident overlapping tradeshows this month (NAB and Musikmesse/Prolight + Sound) on two very separate locations — Frankfurt and Las Vegas — I think that the phrase should be “tradeshows make the world go round.” And maybe there’s a lot — or at least a bit — of truth in that.
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It’s sounds like another teen novelty act — and in time it may turn out that way — but the American rock/indie band Echosmith is doing the work, writing great songs and putting on engaging live performances that seems to point that they are more than that. But they are young. The quartet is made of four L.A.-based Sierota siblings: Graham (drums/16), sister Sydney (singer/18), Noah (bass/19), and Jamie (guitar/22).
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Held in Bayfront Park in downtown Miami from March 27 to 29 — and not-too-coincidentally taking place during spring break and the 2015 Winter Music Conference (the leading industry gathering of EDM and dance music artists and producers) — this year’s Ultra Music Festival continued its 17-year history of success.
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