For the past decade, KV2 Audio has built a reputation for creating rugged, great-sounding pro audio gear. Founder George “Jiri” Krampera always made products with novel, innovative approaches. So when KV2 announced its JK series direct boxes, I was anxious to check these out.
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Note: This was written in response to Baker Lee’s “FOH At Large” column (June 2012 FOH) regarding the occasional dangers of technology and whether depending on various devices represented a form of “cheating.” We thought Kip presented some good points and we wanted to share them with you. —ed.
As I sit typing this on my MacBook, I start to wonder if I am “cheating” by not picking up a pen and paper, purchasing a stamp and driving a letter to the post office. All things that, in this economy, I would prefer not to do.
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Since I made the choice to migrate from analog consoles to a digital platform, something that’s become increasingly clear to me is the requirement to be even more selective and judicious in my microphone choices. I believe it’s reasonable to conclude that the process of digital conversion after the mic preamp is maximized when the processor engine is provided with the highest possible degree of useful detail from the transducer. In the last six years, I have been adding more and more precision high-end condenser, ribbon and dynamic microphones to the James Taylor show’s input list.
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We all know about ideas that have been ahead of their times. But one of them that might have come along a decade too soon seems to think that finally, the moment is now right.
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Where do monitor engineers go when they retire? That’s easy: they go to heaven. After dealing with all of the crazed artists and onstage insanity that comes along with creating multiple mixes for performers with widely varying needs, they deserve it. Yours truly does not fall into either category (monitor engineer or heaven), but that doesn’t mean that we can’t dig out tips and techniques to help you in your quest to create a better stage experience for the artists with whom you work.
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Probably the most overlooked issue in house of worship audio is the placement of the all-important microphone. This issue is mostly confined to instrument microphones and choir mics. With regards to speaking and individual singing mic placement, the issue here is usually the end user. However, we will discuss this later. For now, let’s turn our attention to instrument miking techniques. There are a few different ways to mic almost every instrument. So I am going to tell you my tried and true methods, whether it be drums, guitars, bass, brass, etc.
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Call me archaic, but I actually find the English language to be a great way to express one’s thoughts — regardless of intent or purpose. From relaying simple instructions in concise terms to loquaciously waxing poetic, English — when used properly — is capable of conveying thoughts and feelings with nuance and elegance. This does not mean that we need to roll our “R’s” nor speak in Shakespearean English, but as intelligent people, we must find a middle ground between “Wherefore art thou?” and “Where you at?”
Read More »It’s been a couple weeks since InfoComm 2012 and by all accounts, this year’s event was one of the most successful shows that organization has presented in recent memory. (Note: For highlights and insights on InfoComm 2012, CLICK HERE). Attendance was up, there was no shortage of new technology, new tools and new toys to check out, and the vibe among attendees — both exhibitors and visitors — was uncompromisingly positive. All of the above are good signs that bode well for the overall health of the industry.
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From June 9-16, 34,268 AV professionals from 90 countries came to Las Vegas for InfoComm 2012, the annual conference and exhibition for the audiovisual and information communications industries. The week-long event offered dozens of seminars, training sessions, technical tours and educational programs, as well as the tradeshow floor, which featured 933 exhibitors displaying the latest AV technology in 487,000 square feet of exhibit and special events space.
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Without contradicting himself in the least, FOH engineer Jason M. Tarulli describes how his job is not hard, yet is difficult at the same time. The Black Keys are a two-piece band that’s a four-piece, and at the end of the day can take up to 60 inputs.
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Every year brings more processing power to all aspects of live sound. Modern loudspeaker processing routinely employs equalization, delay, crossovers, limiting and other advanced DSP processing techniques, such as FIR filters. DSP can be found in standalone processors, in amplifiers or built into powered speakers.
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SIA Acoustics Helps Shape the Sound in eTown’s New Performing Arts Facility
It starts with a phone call… or an email. “I want to build a studio or a sound stage or even a concert hall.” Usually, it’s the owner, just starting out and wondering how to move forward. Sometimes, it’s an architect or even a construction manager, hired on and wondering how to turn a mostly amorphous vision for a facility into drawings and either a new building or a renovation of an existing space. Some discussion of the project’s program, what the facility’s intended to do, and its space requirements, budget and goals — both operational and initial capital needs, as well as potential cash flow — will quickly reveal how realistic (or unrealistic) the concept is. These calls come often. Sometimes there is a second or even third call. Some of these turn into real projects. It’s all part of the life of an acoustical consulting firm.
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