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Winter NAMM 2005

Back in another lifetime, when I was editing a magazine for working musicians, NAMM was the biggest, baddest show of the year and I spent all four days literally running from appointment to appointment trying to cover everything, along with a handful of trusted freelancers. But since leaving the music mag world for FOH, I have often found myself wondering why we bother. This time around the answer is (apologies to David Byrne) the same as it ever was. While NAMM may be a big loud guitar show, there are always some real live event audio gems buried in the rubble–this time around we didn't even have to dig too deep. Even those companies with little to show at NAMM promised big news at NSCA in March.

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We Need More F.A.T. People

Last issue we discussed–in general terms–AV team building, task division, and a little about training. A couple more principles of good team building are in the areas of participation and excellence.

I really like what Bob Russell (Southeast Christian Church–Seven Principles of Church Growth) has to say about some of these things, and I highly recommend the book for gaining more clarity on the overall subject. Excuse me as I paraphrase.

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It's All About Passion

Late in the afternoon, two days before Christmas, I got a voice mail on my cell phone from Howard Sherman, an NYC PR guy who does a lot of work in the pro audio market. "Bill," he said, "I know this is last-minute, but I have an opportunity to get someone in to cover the Kevin Spacey Beyond the Sea tour on its last stops in Vegas. The shows are the 26th and 27th. Can you do it?"

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One Dropped Neutral

When on tour with a major rock 'n' roll band promoting a new record, you are sometimes called upon to pull off extraordinary feats of technical wizardry while keeping your own composure, under physically stressful conditions that might make a weaker being weep like a little girl. This is one of those stories. The names have not been changed as to give the parties involved due credit and kudos.

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KA

Debuting in the completely rebuilt 1,951-seat theatre of Las Vegas' MGM Grand Hotel is KÀ, Cirque du Soleil's fifth Las Vegas extravaganza. Created and directed by acclaimed Québécois theatre and film director Robert Lepage, KÀ is one of the largest technical productions ever put together, combining acrobatics, martial arts, puppetry, multimedia, pyrotechnics, an original score and an elaborate sound design by Jonathan Deans. KÀ departs from previous Cirque productions by featuring a strongly defined story with clearly identified characters. Described by Cirque founder and CEO Guy Laliberte as "the most theatrical show we've ever done," KÀ is based on the ancient Egyptian belief in the ka, an invisible spiritual duplicate of the body that accompanies each person through this life and into the next. The tale is told as the saga of separated twins–a boy and a girl–who embark on a journey to fulfill their

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Live & Legal Mixing it Up

A little more than a year ago, I wrote about the nascent business of CDs being burned and sold right at the concert venues. It looked as though this would be a new area that would get some early traction–no less than Clear Channel was backing the largest effort.

Last month, I had occasion to write about non-disclosure agreements, which are becoming a fixture in the touring sound business as celebrity outstrips talent and Rolling Stone gets regularly scooped by the Enquirer when it comes to pop star reportage.

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Carlson and Rat Sound Hit the Road with R.E.M.

How do you do audio justice to a rock legend whose career spans more than 25 years? Well, one of the first and most crucial steps is to surround yourself with people, companies and gear that have proven themselves time and time again. When it came to planning the U.S. leg of R.E.M.'s recently launched 2004/2005 World Tour supporting their latest CD, Around the Sun, this meant handing the ball to FOH engineer Brett Eliason, who in turn joined forces with Seattle-based Carlson Audio Systems to design the

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Crossing Over

Frequency crossover networks have been around since the early days of movie theaters. Today we have active crossover networks besides the legacy passive networks for splitting out bands of audio signal to frequency-specific drivers (speakers). This installment of Theory and Practice will go backwards in history by first discussing crossovers, and working through the basics of passive crossover networks for a two-way speaker system.

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Behind the Masque

The minds behind Masque Sound are transforming a bustling business into a booming empire. The veteran audio company, which has a recording studio in New York and a warehouse facility in Orlando, recently moved its headquarters into a 70,000-square-foot warehouse space in East Rutherford, N.J. Already catering to clients locally and nationally–from The Apprentice season finale in Manhattan to the Queen show in Vegas–the multi-faceted operation has brought all its various disciplines under one roof, from theatrical and broadcast to live sound and industrials.

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Dirk Durham and Earl Neal

What do live sound and the rodeo have in common? Dirk Durham, Toby Keith's FOH engineer since 2000. "I've had two jobs–running sound and riding bareback horses," says Durham. "A good friend of mine is Ben Johnson, who's a pretty prolific singer/songwriter, and we traveled together–he wrote and I rode bareback horses. After the shows, he'd go in to the local VFWs and Moose Lodges, and they would rent to him and he'd play for the door. And I'd be there to drink beer and chase women, and he'd go, 'If you're going to hang out so much, then start rolling cords,' and I rolled cords, then moved to the monitor desk, and then to Front of House. And I thought, 'This is kind of like rodeoing: I'm traveling a bunch, and really not working more than an hour, and I think I might like doing this!'"

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Is Everybody Happy?

Dear Anklebiters,

First, I would like to say that you guys are great. I have learned from and enjoyed your work over the last few months. Anyway, I do not own my own sound company, though I plan to one day soon. I am mainly a Front of House guy, but I can cover any position: stage manger, monitor world, doorman, bouncer, whatever. The only positions I have trouble with are ass kisser and babysitter. This brings me to my question: How do you make everyone happy, when the producer wants one thing, the club owner wants another and the band and their girlfriends want another?

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When Just Good Becomes Great

A live audio mix is very much like the music that is being played, in as much as it is subjectively assessed by whomever is listening. Music that delightfully entices one listener may just be a snorer for others, and music that rocks one soul is an abomination to another. There is no accounting for taste and those who love Maroon 5 are no more passionate about their music than the lovers of Hilary Duff, Walter "Wolfman" Washington or GWAR.

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