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Allen & Heath ZED 4-Bus Series

Allen & Heath has announced the ZED-420 (16 mono + 2 dual stereo channels), ZED-428 (24 mono + 2 stereo) and ZED-436 (32 channel + 2 stereo) mixers. Similar to the smaller ZED-14, the 4-bus series features the same performance DuoPre TM padless preamp, which is a microphone circuit and an optimized line input circuit, rather than one pre-amp handling both mic and line signals. It uses a two-stage design with carefully controlled amounts of gain in each stage, offering high headroom and a low-noise, clean signal path. The ZED 4-bus series has a responsive 4-band, 2-swept mids EQ with in/out switch, 6 aux sends (2 pre, 2 post, 2 pre/post), 4 sub groups, direct outputs on each mono channel, separate L, R & M main buses, 100 mm long-throw faders, 2 matrix outputs and a talkback facility to auxes or LRM. The connectors are placed on the top surface for easy plug-in and patching, and the construction, with individual circuit boards nutted to the top panel, is identical to Allen & Heath professional touring mixers.

www.allen-heath.com

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New Gear

Digidesign Mix Rack
When combined with a D-Show Profile system, Digidesign’s Mix Rack option for its VENUE live sound systems is designed to offer a compact and affordable entry into the Venue family for small- to mid-sized venues, houses of worship, corporate A/V applications and regional tours. Mix Rack combines all stage, local audio I/O and DSP into a single compact 11-space rack enclosure. Mix Rack offers much of the same functionality of the dual VENUE I/O and processing components with a smaller footprint and easy portability.
www.digidesign.com

 

 

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Power Distros

Stop and think about it — given all of the nightmares that can happen on a typical audio gig, it is astounding that so many revolve around insufficient, inconsistent or just plain crappy power. And as the Digital Revolution marches on, it becomes even more crucial when you remember that an old analog console will handle inconsistent power levels a lot better than that shiny new digital board.

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ProLight + Sound 2008

Here is our “virtual” show coverage of Europe’s major music trade show.
By Bill Evans

The ProLight and Sound show in Munich, Germany, is one of the biggest music trade shows in the world and there is plenty of audio there. So why don’t we at FOH attend? Well, truth is that if I am going to fly to Europe, I want it to be for more than another freaking trade show. Sue me. But we get lots of announcements of stuff that was intro’d at the show, so we have put together this bit of “virtual” show coverage. Just pretend we actually went…

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The Personal Monitors Toolbox

The stampede of artists moving from screaming wedges to “personal” monitors has changed many of the rules. (Before we go any further and in case you missed it the last 100 times we have explained: Yes, most of us refer to this kind of gear as “ears” or “in-ears” when we’re doing a gig or talking about gear. But both of those terms are trademarked and can only be used officially when referring to the products made by the company that holds the trademark. Hence our compromise term “personal monitors.”)

Our goal here is not to list every piece of gear used when mixing personal monitors. Rather, it is to look at some of the peripheral stuff that makes using them easier. So, you will find no info on earpieces — neither universal, custom-fit — or wireless rigs. Honestly, that is a fight I would rather stay out of, but here is a look at some of the other tools we have found valuable on the gig.

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Big Daddy Will Miss His Big Brother

I was in Naples, Fla., doing a gig when I got the call last Saturday morning about the death of Roddy Pahl.
 
After getting over the shock of the news, and a brief conversation with his wife Wendy, I took some time to reflect on the five-plus years he and I have been friends. When Roddy and I first met, he was tipping 500 pounds, maybe 6 feet 6 inches tall, shaved head – not a little sucker by any stretch. As big as he was, Roddy was equally soft-spoken. In fact, as I write this, I can’t recall anytime EVER that he raised his voice.

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Subcompact Line Arrays

Well, we have officially reached the point where everyone THINKS they need a line array, whether it is appropriate to the venue or not. That being said, the ability to control dispersion can make a small array perfect for house of worship applications. The problem comes in when the church wants a line array, and it actually is the right choice, but they want something small and inconspicuous. Which is where “subcompacts” come into the picture.

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Winter NAMM 2008 Still Not an Audio Show, But…

FOH hit the convention floor for a firsthand tour of new gear that stood out in the crowd.

OK, so for an MI guitar show there was a respectable amount of new audio gear at Winter NAMM. Nothing earth-shattering, but enough to keep things interesting. Here is some of what floated our boats…

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Soundcraft GB2R, RapcoHorizon LTI-1 Stereo Interface, Heil Sound PR35 Dymanic Microphone

Soundcraft GB2R

This 19-inch rack-mountable mixer is designed specifically for smaller installations in churches and performance venues, or for small portable PA systems. Available in two versions, the GB2R offers either 16 mono inputs to a stereo mix output, or a 12.2 version with 12 mono inputs, two full-feature stereo inputs and two group busses, each model having six auxiliary sends.

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Speakers-on-a-Stick

This class of portable P.A. gear has gone through some weird twists over the past decade. Not so long ago, the kind of portable powered systems that sit on tripod speaker stands were the norm for smaller gigs, but as technology rocketed forward, the humble speaker-on-a-stick became an “an-klebiter only” tool and was widely dismissed by most in the middle-levels-and-up of the pro audio industry.

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HOW Gig Appearance

If I have one of my boys mixing a Sunday service, they have to know what they are doing and dress for the occasion.

Let me give you my dress code for church gigs (indoors or out).

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