France - The Grand Concert de Paris, celebrating the anniversary of the storming of the Bastille, takes place every 14 July at the foot of the Eiffel Tower, in the Champ de Mars. This year, a crowd of 300,000 people assembled to listen to the concert live, while a record audience of 3m viewers tuned in to watch the spectacle on television.
Specialising in the delivery of large-scale shows globally, Gilles Bouvard Events and Shows (GB4D) has been working on this event with Radio France since 2015. This year, thanks to a successful experiment, they extended the traditional site wide Optocore redundant optical fibre loop by deploying an additional 152 Optocore X6R preamps.
Explaining the reason, Bouvard said, “We had conducted several experiments with Radio France prior to the event, including the recording and capture of a jazz concert at La Maison de la Radio, with immersive sound, using a 22/2 multi-channel mix."
The idea had emanated from Radio France’s Pascal Besnard and Bruno Lompech, with the latter taking up the story. “Before thinking about mixing 22:2 specifically, I thought of the huge possibilities of audio network coverage that Optocore offered, and suggested it as an alternative to other more audio-oriented IP systems. We could envisage something far more innovative than a simple stereo mix to our FM transmitters.”
The audio recording was made using 48 Optocore preamps wired to a LAWO console for the antenna sound. The concert was mixed by a Yamaha Nuage post-production console for the immersive sound, all connected via a MU
Germany - Parookaville is one of the largest electronic music festivals in the world, and this year attracted around 200,000 visitors over three days to Weeze airport, a former military base in the Lower Rhine region of Germany.
This fifth edition of the event featured multiple stages, one of which was the Desert Valley Stage where Tillmann Stockschläder of service providers Entec, in cooperation with audio specialists Teqsas, deployed a Coda Audio system.
The Desert Valley Stage is one of the largest at the festival, covering an area of more than 5000sq.m and Coda Audio AiRAY was used as the main PA as well as for DJ monitoring. Front-fill was taken care of by Coda Audio APS. Two hangs of 10 x AiRAY were used as a stereo application complemented by 24 Coda Audio SCP sensor-controlled subs in an end-fired cluster. Restrictions on height and load capacity were easily overcome by AiRAY’s light weight (just under 40kg per unit) and compact dimensions.
Michael Linden, Teqsas application engineer, comments: “The system delivered a uniform sound distribution across the frequency spectrum up to the required depth of 80m. Even in the sub area the SCP subwoofers have been able to match this standard with the end-fired arrangement.
“The consistently positive response of visitors to this new sound experience was pleasing and was achieved thanks to Coda’s ring-diaphragm driver technology and the unique sensor technology in the sub-bass. The system produced great power with negligible distortion and we deemed it to be a complete success. We’re a
USA - Sensaphonics has announced the launch of its fully redesigned website. Still located at www.sensaphonics.com, the new site features a modern design with enhanced shopping functionality. Visitors will notice a more streamlined approach, with intuitive navigation, straightforward product information, and fresh graphics throughout the site.
“We have some really exciting new products coming out in the near future and, frankly, our existing website couldn’t really do them justice,” notes Sensaphonics president, Dr. Michael Santucci. “With this new design, our company mission of saving hearing in the music industry is blended seamlessly with clear product information for a much more intuitive user experience.”
USA - Halsey hit the road in May for a short run of shows in support of a new single release, Nightmare and lighting designer Jose Antunes chose Elation’s Artiste Monet and Rayzor 760 to light the special performances. Lighting vendor was DCR of Nashville.
The festival and specials run included shows at Webster Hall in New York City prior to the single release along with a string of radio performances in California in early June.
Antunes designed the shows around some of Elation Professional’s newest luminaires, the Artiste Monet and Rayzor 760, and was one of the first designers to use the fixtures. “The design for this run was meant to pack a lot of punch with a small compact package that would fit in a small club, but also be able to spread out on a large festival stage and fare well outdoors in regards to output,” says Antunes, who also served as programmer for the shows.
“We wanted to try out some new-to-the-market fixtures and based this design and package on what was just recently released to showcase and put some new technology to the test.”
Because the run was festivals and club-type settings, flying a rig wasn’t an option so the Artiste Monets were ground supported behind the three-piece band. The designer used the 45,000-lumen LED profile fixtures for big, powerful aerial effects using its selection of gobos, animation wheel and wide zoom range.
“The Monet is by far the brightest LED profile fixture I have seen on the market so far,” Antunes enthused. “Its 950W white LED engine combined with its 7-c
Ireland - At the start of 2019, one of Ireland’s leading audio hire, sales and installations companies, Acoustik, took delivery of two DiGiCo SD10s to add to its existing stock of mixing consoles and, according to the company’s operations and systems designer Will Fitzpatrick, they are “flying out of the door”.
“For the past couple of years, DiGiCo has been at the top of the list on the riders we recieve and they are our crew’s console of choice, so the decision to invest in the SD10s was without question,” says Fitzpatrick. “We also had the option to upgrade to the new 32-bit cards. They have improved the SD10s already incredible audio quality and everyone is amazed by them.”
One of the Acoustik team’s favourite functions on the consoles is macros, which give “seemingly endless possibilities” according to Fitzpatrick. “And the connectivity between multiple consoles and multiple racks, whether it be a front of house or monitor configuration, or mirroring / redundant consoles, is also incredibly useful,” he adds.
Praise for Rea Sound, DiGiCo’s distributor in Ireland from whom Acoustik purchased the consoles, is also high. “They’ve been great,” continues Fitzpatrick. “From the very beginning, Rea’s Sean Gallagher was really helpful and guided us through the process with great care. Rea also organised training, which has brought all of our guys up to speed, and Rea’s guys are always at the end of the phone if we need anything.”
With the SD10s having barely seen Acoustik’s warehouse since they took de
UK - Wireless headphone provider Silent Disco King partnered with Cineramageddon at Glastonbury festival for a debut screening of Ibiza, The Silent Movie.
Cineramageddon is curated by film director Julien Temple and returned to Glastonbury this year for its second outing after debuting in 2017.
The area has the UK’s largest outdoor cinema screen and includes 60 vehicles including Mad Max style cars, classic cars, fairground bumper cars and convertibles dug into the ground, which festival goers can rent out to watch an array of cult classic movies.
The activation was opened this year with the premiere of Ibiza, The Silent Movie directed by Julien Temple and music curated by Fatboy Slim. The film is an exploration of the hedonistic history of the Ibiza island and was introduced by Glastonbury’s co-creator Michael Eavis, Julien Temple and Fatboy Slim himself.
Attendees enjoyed the two-hour long film on Silent Disco King headphones, followed by a live 45-minute DJ set from Fatboy Slim.
Ibiza, The Silent Movie was recorded in 7.1 Surround and Cineramageddon were passionate about attendees experiencing the movie in this format, just the way the producers intended in the studio. However, noise limitations on the cinema site meant that all audio must be relayed via headphones rather than a conventional cinema sound system.
As a result, the technical brief for the silent cinema was far more demanding than the first year. HD Pro Audio approached Silent Disco King with a mutual solution.
The Silent Disco Kin
The Netherlands - Violinist Nigel Kennedy played an engaging concert as part of the Schleswig-Holstein Music Festival in Neumünster. The violinist was accompanied by the Schleswig-Holstein Festival Orchestra, which comprised young musicians from 27 nations, who were selected from 1,500 applicants through international auditions.
Dutch loudspeaker manufacturer Alcons Audio teamed up with Kennedy's sound engineer Andreas Adelhofer of Headroom Media Service or the sound experience. Adelhofer, who has been working as sound engineer for Nigel Kennedy for more than five years, is responsible for all his concerts worldwide as FOH engineer. In this capacity, he is also the interface between artist and promoter or service provider in the production preparation. In part, his company also provides the complete production for European tour stops.
At the concert in Neumünster Adelhofer cooperated with Alcons Audio for the first time. "I've been wanting to test an Alcons pro-ribbon system live for a long time and from time to time I'd been talking to Carsten Albrecht from Alcons Audio Germany. With Nigel Kennedy, I was finally able to put this project into action", says the Tonmeister.
The PA system consisting of 36 Alcons LR18 midsize line-array (16 front, 20 out-fill), six Alcons LR7/120 as additional front-fills, four RR12 as centre cluster, two RR12 as side-fill and six BF302 in cardioid arrangement, was sourced from the Alcons Audio rental network The Ribbon Network. All systems were digitally powered by 13 Sentinel S10 controller amplifiers.
As a s
Europe - Having recently purchased their own Allen & Heath SQ-5 digital mixer, British rockers Don Broco chose to pair it up with a full dLive system this summer for a short festival run across the UK & Europe, including appearances at Mad Cool (Madrid), Meo Mares Festival (Porto) and Truck Festival (Oxfordshire).
Supplied by SSE Audio, a DM64 MixRack fitted with gigaACE and fibreACE cards formed the core of the system; paired with a dLive S3000 surface at FOH (fitted with a Dante card), while a digital split from the gigaACE card allowed the band to use their own SQ-5 for monitor duties.
Adam Boole, FOH engineer and long-time user of Allen & Heath products, comments: “When we started this project, we needed to build a system that would work with the band’s own SQ-5 on monitors, luckily it was easy to achieve by having dLive on FOH. All I/O is set up through the DM64 MixRack, which just creates an extremely neat and tidy, yet small package.”
“SQ has a very similar workflow to dLive,” adds monitor engineer Scott Howarth. “It has an extremely small footprint and local I/O which I use for shouts and local festival drum subs / side-fills. It’s great that we can pair it with pretty much any I/O from Allen & Heath too, it makes this owned console easily applicable to a host of uses for the band.”
The band now prepare to head to Asia for a series of support shows before moving on to the US on a headline tour - both sets of shows will feature the SQ-5 covering both FOH and monitors and two AB168 stage boxes.
Myanmar - KV2 Audio products have recently been introduced to a new region thanks to an investment from Myanmar-based firm Htat Wah Win Trading Co.
The company presented KV2 Audio in a joint presentation with Shure Microphones at the Shangrila Hotel in the country’s capital Yangon last month. The event was attended by around 200 invitees and featured presentations from KV2’s Dave Croxton and Angus Davidson, who handle sales and technical support respectively for Asia Pacific.
Thura Aung, managing director of Htat Wah Win Trading Co, first heard KV2’s products on demo in China and was impressed by their compact size and sound quality. Aung’s company imports various products into Myanmar and he had started to investigate the pro audio market. “While we had plenty of choices with a wide range of lower cost Chinese manufactured products, I was really looking for a flagship brand, something that could provide high quality audio for large-scale events. A number of people suggested I look at KV2,” he explains.
“I met with Dave Croxton from KV2 in Guangzhou and when he explained the company’s philosophies of building complete systems that are optimised to work perfectly straight out of the box, KV2 was certainly the standout choice for our Myanmar market.”
Croxton adds: “KV2 has been well-received in many developing countries like Myanmar. Our true plug-and-play operation makes it far easier to achieve good quality sound reinforcement in areas where technical staff are scarce. We can quickly train people with limited audio knowled
Japan - Uplink’s Tokyo cinemas can be described as mini theatres, including the city’s smallest such venue, which is located in the city’s Shibuya district. The company has embarked on a quest to offer cinema goers the best indie and foreign films in a country where Japanese blockbusters are becoming increasingly popular at the expense of both Hollywood movies and foreign arthouse titles.
Over the last decade, the number of mini theatres has declined as multiplexes have flourished, but Uplink and its president, Takashi Asai, have remained true to their belief that the future is bright for arthouse mini theatres in Tokyo. The way to ensure this, in their opinion, is to offer a pristine AV experience to their customers.
As a result, Uplink has chosen Powersoft amplifier platforms to drive the bespoke audio systems in its venues in the Kichijo-ji area, one of the city’s most fashionable districts. The audio setup in each of the venue’s five screens is driven by Powersoft Ottocanali amplifier platforms, which power Taguchi Acoustic Lab speaker systems.
“The visual side of cinema is constantly evolving,” opens Asai, “But, quite surprisingly, the audio side seems to have stagnated a little in the last few decades. Obviously, SPL in cinemas has increased and dedicated subwoofers have become commonplace, but I have felt for a while that we, as cinema proprietors, could be doing more.”
Asai began conversations with an old friend - Kazunori Taguchi, director of Taguchi Acoustic Lab - to understand how to take Uplink’s audio system
Canada - Corey Hart has sold more than 16m records worldwide and earlier this year was inducted into the Canadian Music Hall of Fame. The singer-songwriter recently undertook his first full arena tour of Canada since 1986, having twice taken long sabbaticals from the road during his 35-year career.
The hotly anticipated Never Surrender tour demonstrated that he has lost nothing of his ageless star quality and reviews of the shows praised his skill, showmanship and the quality of his powerful eight-piece band.
Supplying audio for the shows was production specialist Solotech and its choice of Coda Audio’s compact AiRAY system to deliver the Corey Hart message to his fans proved a great success. Front of House engineer Gary Stokes (k.d. lang, Adam Lambert) enjoyed his first experience with the system and was in no doubt about its qualities.
“Usually, the biggest challenge with an arena system is trying to make it sound consistent in every seat and that’s probably what we spend most of our time trying to do. Of all the different systems I’ve used - and I’ve probably used most of the ones on the market - I would say that this system has proven to be radically effective, in the sense that you can make it sound the same everywhere pretty easily.”
The System deployed on the Never Surrender tour comprised main hangs of 16 x AiRAY per side, side hangs of four AiRAY with eight ViRAY per side, a sub array of 16 x SCPF Subs and eight ViRAY as front-fill.
Stokes continues: “It was very obvious that this system is different from other sy
Switzerland - Around every 20 years, the ‘once in a generation’ Fête des Vignerons takes over the Swiss town of Vevey for a month in July and August. Featuring nearly 6,400 performers, musicians and singers, 2,000 lighting fixtures, 612 loudspeakers and over 300 channels of wireless microphones, 11 networked Yamaha digital mixing systems were needed for the centrepiece production of the 2019 event.
Fête des Vignerons is a spectacular event which pays homage to the centuries-old traditions of the Brotherhood of Winegrowers, which covers the area from Pully to Vevey, in the Lavaux region of Switzerland. The centrepiece production takes place in a temporary arena, built on the banks of Lac Léman (Lake Geneva) and depicts a year in the life of the vineyard over 20 scenes.
Taking place from 18 July to 11 August, this year’s production comprised 23 shows, plus the coronation of the Vigneron-Tâcheron (wine-grower’s hand), traditionally regarded as the ‘keeper of the immemorial know-how’. It saw a quantum leap in the staging and production since it last took place in 1999, with today’s technology meaning the audio production could surpass the highest audience expectations.
The show’s design was for five stages - one in the centre, plus one on each side of the arena - so sound coverage was a complex issue. For the 1999 event, the audio system was mounted on a single tower in the middle, meaning all of the sound came from one point. This year’s technical director François Mottier wanted to make sure that the mistakes from last time were
UK - Independent event production specialists Light Fantastic Production Services returned to The Old Truman Brewery, London to support innovation festival Unbound with a complete event solution.
Featuring presentations by a host of leading brands, the two-day symposium attracted over 5,000 visitors.
The LFPS team worked with Unbound to transform the capacious venue into a series of zones, including the Main Stage, Future Stage, Networking Zone, Partners Lounge plus individually-branded spaces for over 140 exhibitors.
The guest speaker presentations and panel style discussions were hosted within custom designed auditoria, built from the ground up by the LFPS team. Covering every aspect of the installation LFPS provided all lighting, audio, video and staging along with an extensive suite of stylish exhibition stands, digital event branding and signage.
Commenting on the project LFPS managing director Rob Myer says: “We’re delighted to have once again partnered with the Unbound team for this phenomenal event. With our 50 strong crew, we provided the organisers a single source solution for all equipment, technical support and full production management.”
Central to the event was the 500-seat Unbound Main Stage. The set design wove together LED video panels and 3D fragments of the Unbound logo to create an abstract, modern setting around a 10m upstage video wall. This LED wall was fed via a Barco S3 switcher with Panasonic laser projectors deployed on IMAG duties. In addition to the live audience, all sessions on the main stage were st
USA - The Sound Reinforcement Track sessions at the AES New York 147th Audio Engineering Society International Pro Audio Convention (16-19 October at the Javits Centre) will offer “insights for sound professionals of today and tomorrow”, say organisers.
“This year, we have once again gathered top industry experts and manufacturers at the pinnacle of live event production and sound reinforcement to share their hard-won knowledge,” comments AES New York sound reinforcement chair, Henry Cohen. “From foundations of systems design, to the latest in the science and technology of audio perception, the AES New York Sound Reinforcement events offer unprecedented access to the latest from the industry’s top researchers and gear designers, as well as the engineers that exemplify best practices in the craft of sound reinforcement.”
The AES New York Sound Reinforcement Track’s series of educational opportunities includes sessions revealing crucial details of sound reinforcement implementation such as Seven Steps to a Successful Sound System Design and further ideas and techniques in A Cookbook Approach to Sound System Optimisation with Bob McCarthy.
Delving further into system specifics, the multi-part RF Super Session will host a discussion of RF spectrum and regulatory changes, an update on the latest compliant equipment, and best and advanced RF practices including filtering techniques and RF over fibre.
AC Power, Grounding and Shielding will cover theory and practice of AC power for small to large sound systems, i
Europe - Premium cable manufacturer PROCAB is introducing an extensive new range of CPR-compliant cables. This range is designed to be used in applications where CPR classification is required to offer the safest possible solution to installed cabling.
The Construction Products Regulation (CPR) is an EU regulation for installation cables, classifying cables based on their fire performance. The standardisation is introduced to improve the fire safety in buildings as in case of a fire, most casualties are a result of the toxic smokes.
This new cable range will consist of loudspeaker, microphone, Cat 6, Cat 6A and even Cat 7 types of cables, available in 100m and 300m variants, keeping possible surpluses to an absolute minimum.
PROCAB extensively tested their tailored made cable range in the harshest environments on three criteria: smoke concentration, burning droplets, acidity of the smoke. Because the outer jacket is flame retardant, it provides optimal resistance to spreading fire and therefore maximizes the overall safety of the construction. Available Euroclass types include B2CA, CCA and DCA.
Thailand - Mahajak Development Co recently outfitted the Toyota Buzz Co headquarters with a Harman Professional Solutions networked AV system to deliver audio and video in nine locations.
Toyota Buzz Vibhavadi is a Toyota dealership and headquarters of the Toyota Buzz dealership sales channel. In order to broadcast and distribute AV content throughout the facilities - and to eight additional branch locations - Toyota Buzz recruited the help of pro audio distributor Mahajak Development. Mahajak deployed a networked AV system in the boardroom, hall, fitness room, sky garden and mobile room to provide advanced audio and video control.
“After thorough consideration, our team designed and installed a Harman system that seamlessly delivers high-fidelity audio and video across multiple locations to meet the specific requirements of the client,” says Pongsakorn Kanchanachayphoom, project director at Mahajak Development.
Mahajak equipped the boardroom with JBL Control 14C/T full-range ceiling speakers. JBL 305P MkII powered studio monitors deliver precise imaging and impressive dynamic range for critical listening. The system is powered by Crown CT 475 amplifiers and routed through BSS BLU-101, BIB and BOB1 digital processors for maximum flexibility. The conferencing system also includes a video wall with 55” 3x3 seamless display screens, which are controlled effortlessly via computer.
The Toyota Buzz headquarters features a 1,000-seat hall for internal presentations, performances and activities. Mahajak outfitted the hall with compact JBL AE Se
USA - With a career spanning 19 years, 12 songs that have made Billboard's country charts, and word of a new major label record deal in the oﬃng, country artist Craig Morgan is on the road this summer, touring with new gear in the form of an Allen & Heath dLive S5000 console/DM0 MixRack at front of house, an SQ-7 for monitors, and four DX168 I/O expanders on-deck.
“I had been looking for a new console since last year,” opens Morgan’s FOH engineer, Robert Harmon. “I narrowed down my search to three, but none of them worked out. Then I ran across a console I didn’t recognise online. It looked high-end. It turned out to be an Allen & Heath S5000. Having logged thousands of hours on a GL2400 and other Allen & Heath analogue products in the past, I have to admit my mind was having a hard time wrapping itself around this new digital oﬀering.”
Harmon agreed to try the desk following a conversation with Allen & Heath’s Eastern Regional Sales Manager, Kevin Madden. He wound up using it for two shows and never gave it back, choosing to send the company a cheque instead.
“They told me it could be customised any way I wanted,” he recalls. “I heard that before, but this time it was true. Using a show ﬁle I wrote at home, it loaded correctly the ﬁrst time and sound check went quickly for starting at zero. I conﬁgured the desk to mimic the layout of my old one exactly, that made the transition seamless. I also brought things to the top surface I never could before.
“I always wanted my matrix out with my
South Africa - Stage Audio Works is celebrating the success it has seen at Mediatech 2019. With a two-storey booth design, the company made a statement on the show floor as visitors looked to find out more about its latest audio, visual and staging solutions. The company succeeded in winning a number of deals over the three-day event.
“Mediatech only takes place once every two years, so we have spent a lot of time and energy ensuring that we can maximise our presence at the show,” reflects Shaun Xavier, marketing manager at Stage Audio Works. “The response that we have had over the three days has more than justified this effort. We have been able to spend time with old friends and make some strong new contacts, as well as writing a significant amount of new business.”
This success has been boosted by the support that the company has received from the various brands it represents. Staff from Christie, dB Technologies, Sennheiser and Yamaha were all present on the booth, taking numerous customers through their respective technologies and adding to the expert advice that the Stage Audio Works team was able to provide for other brands, including in-house ranges Stage Plus and Pixel Plus, and international manufacturers such as Analog Way, d&b audiotechnik, Living As One and NovaStar.
“When people talk to us about projects, they are looking for solutions, not just products,” notes Nathan Ihlenfeldt, technical director at Stage Audio Works. “The hands-on approach and systems-based strategy supported by our agencies, suppliers and manufac
UK - Austrian Audio and UK distributor Sound Technology report that Austrian Audio OC818 and OC18 microphones, including a limited edition OC818 Studio Set Launch Edition, are shipping now.
The new OC18 and OC818 large diaphragm condenser microphones, made in Vienna, both featuring the same handmade capsule at their heart. Royal Marines commemorate fallen comrades with EM Acoustics
The single-diaphragm OC18 and dual-diaphragm OC818 both feature a new handmade ceramic CKR12 capsule, resulting in no compromise in sound between the two models. In fact, any OC18 and OC818 can be used as a matched pair due to the extreme precision of our manufacturing and measuring processes.
Since the OC18 and OC818 are sonically identical your choice is based only on application. The OC18 features a classic cardioid pick-up pattern and includes a selectable high-pass filter plus a -10/-20db Pad. The OC818 features the same filter and Pad, plus a variety of pick-up patterns selectable from the body, and some incredible extra features up its sleeve.
The OC818 is also the first multi-patterned microphone to feature the world’s first wireless pattern and switching control via an optional transmitter/receiver (OCR8) that can be fitted to the rear of the microphone. This feature allows for a previously unheard of 255 discrete polar patterns between figure-of-eight, through all of the cardioid versions and into omnidirectional. The free control software, PolarPilot, will be available for iOS and Android. This all occurs in the analogue domain and there is no process
UK - The annual Marines on the Green memorial concert in the Kentish coastal town of Deal took on a special significance this year as it commemorated the 30th anniversary of the IRA bombing in Walmer barracks that killed 11 bandsmen. An unprecedented 12,000 people attended the event which was also an opportunity to upgrade the sound system from EM Acoustics’ compact Halo-C line array to the recently released medium format Halo-B system.
System tech Dave Shepherd, who has been involved with the Marines on the Green event for many years, felt that with the increased audience expected for the 30th anniversary concert, Halo-B would be the right choice. “We’ve used the Marines’ own Halo-C system in previous years, but with so many more people expected this year, it was the ideal scenario for the Royal Marines to experience HALO-B in action.”
Shepherd specified two ground stacks of four Halo-Bs on top of a single ST-215 sub per side for the main L/R system supplemented by two hangs of seven HALO-Bs and an MSE-218 sub on either side of the bandstand to cover the audience to the sides that stretched to over 120m away.
The system was driven from two DQRacks, EM Acoustics’ flagship touring rack comprising three high power DQ20D amplifiers plus a bespoke unit for signal/data/I/O and a mains power distribution/speaker output unit, which gave Shepherd detailed system control to ensure perfectly smooth coverage from the front row right to the very back of the audience.
“The location of the bandstand and the nature of the event means that our
UK - The latest production from Space Productions, the in-house company at off West End performance venue The Space, tells a story never really told, against a dynamic and eye-opening immersive sound design by the company’s Keri Chesser, who added impressive realism and intense drama using TiMax.
Spitfire Sisters is the tale of the British and American women in the British Air Transport Auxiliary who, at the height of World War Two, were trained to use just a map and a compass to fly planes from the manufacturers to where they were needed in the action.
Using TiMax object-based spatial rendering Keri was able to depict action such as the intimate internal voices of the women’s thoughts whilst flying, by both isolating them for clarity while slightly diffusing them for dramatic impact.
Chesser explains: “We were able to make the sound of the aeroplane fill the room from a position overhead, but voices still came through clearly and separately. I had a few speakers rigged above the hearing level of the audience so, using TiMax I added some EQ to a voice while directing the aircraft sounds overhead.”
TiMax PanSpace was also invaluable for creating multiple panning effects to replicate the sounds of a dogfight taking place above the cast sitting out an air-raid in a shelter.
Two speakers secreted on the stage’s balcony level anchored the aircraft sounds above the heads of the audience, whilst the main house PA provided left and right wide imaging, plus a sub for low end. All speakers were connected to TiMax via its onboar
UK - Adlib supplied full production - sound, lighting, video and rigging - plus crew for the recent UK tour by Daryl Hall and John Oates, whose impressive string of top 40 hits stretch back to the 1970s.
After the UK tour, an Adlib control package and video servers went on to the Latin American leg of the tour, and then returned to Europe with the addition of a full audio package for the third segment and euro festival run.
Adlib’s Craig Hamilton - based in the Glasgow office - project managed and co-ordinated all things sonic, liaising closely with Daryl Hall & John Oates’ audio team of FOH engineer Chris Salamone, monitor engineer George Squires and US supplier Firehouse’s stage tech, Jeff Child.
Adlib’s Billy Bryson was the system tech, Jay Petch was the monitor and stage tech for the UK section of the tour and Billy was also the tech on the European festival dates.
They again chose to work with an L-Acoustics PA to achieve the precise sound they wanted, deploying 12 K1 plus 4 K2 down-fills for the main arrays and 12 K2 for the side-hangs.
For lip fills across the stage six L-Acoustics X8 were utilised, with out-fills comprising four ARCS II per side.
Subs were 16 x KS28, deployed in four blocks of four, tipped on end. The onstage sub in each stack was reversed and run in cardioid mode, at the request of Chris Salamone in continuity with the setup on their most recent US tour.
Adlib specified an Outline Newton multisource processor which matrixed between the main DiGiCo SD10 FOH console, the DiGiCo S21 backup
Portugal - Audio Stage has made a major investment in speakers, subwoofers and amplifiers from the Portuguese manufacturer NEXT-proaudio. The new equipment further expands the company’s extensive inventory of audio gear.
NEXT-proaudio reports that this is one of the largest sales in the manufacturer’s history, comprising 32 LA212x, 28 LA122A, 16 LA122.v2, 38 LAs418G, 12 LAs118A, eight LAs418A, four N-RAK 80, two N-RAK 40, 16 LAm114xA, 12 LAm115, four PXL118, two PXH64, two PXA8001, eight PFA15, eight Matrix M8, eight Kubix K5, two HFA118sHP, two HFA112, two HFA112s and two HFA206p.
“This purchase enable us to bring the very best audio support to the large variety of shows we manage. This top-of-the-line equipment opens new opportunities for us, from small to big events”, says Audio Stage’s founder Paulo Baixinho, “Our collaboration with NEXT-proaudio goes back to 2011 when we started. We have started with a mere 4x4 Line Array System at that time, but thanks to the big support we had from NEXT-proaudio we grew from 16 boxes to 200 boxes in only eight years of activity.”
Audio Stage is a leading company in Portugal that offers a number of services including sound reinforcement, lighting, video, rigging and structure.
“Audio Stage has a long history with us. They needed to boost their production capabilities for a wider range of clients and events and this was the perfect time to do it. NEXT-proaudio product development philosophy is very much in line with the type of work Audio Stage does,” says NEXT-proaudio’s manager Andre
USA - Using unfamiliar gear can often present challenging situations for recording professionals. But taking that leap into the unknown can also lead to new experiences that help you to develop better quality recording solutions. This is something that producer and engineer Siegfreid Meier experienced when recording a new live album for punk icons, Face To Face, using the JoeCo Blackbox BBR64-Dante recorder as part of his setup for the first time.
The 250-capacity venue of Saint Vitus in Brooklyn, NYC, presented a challenge for Meier’s usual recording set-up. “The stage at the venue is tiny – there’s barely enough room for the band and their gear,” he explains. “I did a little bit of research beforehand and I thought the long runs of Dante would probably be the best way to record the show without leaving all of my gear on the stage.”
With this decision made, Meier turned to local audio specialists Gotham Sound to help him create a rig for the show. “Gotham set me up with this tiny little rack that they had built and it has the JoeCo Blackbox BBR64-Dante on the top of it,” he recalls. “We spent a day going over the rig and they took me through all of the Dante stuff. They were extremely helpful, I got a crash course in it and the next day I was setting up with the band.”
Over the next three nights of recording live sets, Meier gained some real insights into the BBR64-Dante and the advantages it could offer him: “The BBR64-Dante records to an external USB device. It labels the files really nicely and it just goes. It’s one of