USA - Shortly following his Beerbongs & Bentleys tour, which wrapped up in August of last year after more than 100 shows around the globe, Post Malone took only a brief three-week hiatus from the road before heading back out on the 38-date autumn Runaway Tour in support of Hollywood’s Bleeding, his third full-length album, released on 6 September.
The second leg of that North American trek picked back up in early February and carried Malone through most of his 22 additional dates before 2020’s global pandemic put live touring on hold in March. However, although much of the material performed on the Runaway Tour was new since Beerbongs & Bentleys, one element that remained constant throughout was the use of an L-Acoustics K1/K2 loudspeaker system supplied and deployed by Detroit-based provider Thunder Audio.
The standard PA configuration for most arenas on the latest tour was comprised of 16 K1 flown over four K2 per side as the main hangs, each backed by 12 KS28 subs flown in cardioid configuration. Adjacent out-fill arrays each consisted of 16 K2, while two additional hangs of 18 Kara enclosures covered the 270° seating areas.
Additional low-frequency energy was generated by a total of 24 more ground-based, cardioid-configured KS28 enclosures, while two stacks of two K2 per side - plus one Kara centred at the very end of the stage thrust - provided distributed front-fill.
Everything was powered by LA12X amplified controllers, with the exception of the 270° hangs and front-fills, which were LA8-
Finland - Genelec is to donate a percentage of every sale of its new RAW loudspeaker range to the Audio Engineering Society (AES), for the remainder of this year. Additionally, Genelec will be funding 10 one-year AES memberships for those individuals whose lives have been impacted by the Covid-19 crisis.
Genelec managing director Siamak Naghian comments: “To us, the AES represents the only serious forum for the development of audio, and the work it does for our industry is invaluable. In its pursuit of excellence and dedication to raising the bar in the industry, it is without equal, and our approaches have much in common. We will do everything we can to help the Society through the ongoing crisis, and this donation is just one way of showing our support and appreciation for this much-loved institution.”
Genelec will donate a percentage of each global RAW sale to the AES, and is also inviting professional or student members of the audio community who have been affected by the Covid 19 crisis to apply for a 12 month AES membership. Genelec will then select 10 worthy recipients, and fund the membership for each of them.
“Genelec has been a steadfast partner to the AES for decades, contributing resources and expertise that play a major role in the quality of our Convention technical programmes,” shares AES President Agnieszka Roginska. “The AES greatly appreciates Genelec’s pledge of yet further support, helping sustain the Society’s essential contributions to the audio industry.”
USA - St. Petersburg-based CP Communications has completed the systems integration of a custom-designed streaming media studio and control room that enables The Ironman Group - a Tampa-based sports event management company - to deliver live coverage of its branded multi-sport and marathon events over-the-top (OTT) via its website and Facebook Watch.
Owned by the Chinese Wanda Sports Group, The Ironman Group produces more than 235 race events across 55 countries worldwide. These include the Ironman Triathlon, which combines swimming, biking, and running into a single long-distance contest; the Rock ‘n’ Roll Marathon Series and more.
“With this new multipurpose facility, Ironman can now produce live video coverage of events remotely over IP, saving travel and crew costs for a faster ROI,” said Kurt Heitmann, CEO, CP Communications. “Bonded cellular - one of our specialties -facilitates video signal backhaul and distribution, bringing Ironman over the finish line as a provider of premium sports content.”
Besides bonded cellular for IP-based transmission, the design leverages Dante to configure, manage, and route broadcast-quality audio over IP; and NDI, an IP-based video networking platform that extends the HD-SDI workflow. These technologies form ‘a powerful yet-cost-effective studio and control room to manage remote productions via IP’, and simultaneously produce live studio segments for event commentary, news, and Skype call-ins. A digital media room supports production of live stream video podcasts and on-demand training vide
USA - Sound designer Bill Chesley just got himself an EVO 4 audio interface for his new home studio space, where he continues to work on commercials for Walmart, Fedex, Nike and Guinness.
He decided to organise things ahead of the stay-at-home order announcement in New York State. “I’m in pretty close proximity to my actual studio, but thought I’d get a home set-up going in these unpredictable times,” he explains.
He co-runs the award-winning sound design collective, Henryboy with his wife, Kate Gibson where he uses an Audient iD22 audio interface. When considering a studio in their Brooklyn apartment, he was mindful of how much space he had to play with. “I gravitated towards EVO 4 because of its small footprint - it packs a lot of punch in a small space.” Which is exactly what he has to do now, with their multi-million dollar clients relying on them to continue to meet deadlines.
Describing his setup, he says: “I’m running ProTools ultimate on a MacBook Pro with loads of plugins and I’m running everything through EVO 4 to a pair of Genelecs. My go-to mics are a Neuman shotgun, an AudioTechnica 4025 and an AKG 414. I also use Sony handhelds quite often, and contact and EMF mics from LOM when I feel the need. I spend a lot of time recording my own sounds. I like a library, but you don’t always get the desired effect.”
He’s certainly pleased with his EVO 4. “I’ve always enjoyed the mic pres in the iD22, and what I’ve recorded with the EVO 4 so far is sounding great. Finding a monitor/preamp box like this for around
Latvia - With a warehouse full of touring gear grounded by Covid 19, Latvian rental company, 3S SIA quickly transformed its Riga headquarters into a fully equipped livestream performance space, including Allen & Heath dLive and Avantis systems.
Created in partnership with local broadcaster, TVNET, the resulting 3S Lockdown Sessions have reached tens of thousands of isolating music fans each week since they debuted in March, with livestreamed performances by popular artists including Latvian Blues Band, Aminata, Samanta Tina, Lauris Valters, Ozols, Indygo and Riga Reggae.
When devising a mixing system for the sessions, the 3S team did not have to look any further than its own extensive Allen & Heath inventory, which includes four dLive systems. A dLive S7000 Surface was paired up with a DM64 MixRack to mix the broadcast, with a gigaACE split enabling connection to the Avantis console handling monitors. The Avantis was teamed with a KLANG 3D spatialization engine, with OSC MIDI commands allowing most parameters to be controlled from the desk.
“Allen & Heath was the natural choice for these sessions,” affirms 3S SIA owner and senior FOH engineer, Einars Cintins. “Reliability is really important for me, and with A&H I know everything is going to work perfectly. One of the things I appreciate about dLive is that the Cat 5 between stage and FOH only carries control data, so even if something happens to my cables, I can pull out my laptop or iPad and the show will go on.”
A DX32 expander loaded with PRIME Input premium
UK - After 28 years of consistent touring, the Stereophonics’ relentless quest to improve their stage sound and gain closer engagement with their audience continues.
At the request of the band, and specifically Kelly Jones, their sound techs were sent into overdrive, working on a radical approach for the latest arena tour. Long-term FOH sound engineer Dave Roden, using his preferred Martin Audio MLA loudspeaker array, sent his mix to a distributed PA system, running the length of a 60ft thrust from main stage, into the belly of the audience, with a small ‘B’ stage at the end of it.
By opting to play a third of their set right in the middle of the arena (including a solo Kelly Jones set), it would have left the band at risk of absorbing unwanted sounds off the main PA picked up by the vocal mics, had it been set in a conventional L/R configuration. At the same time, performing so far in front of the PA would have required substantial EQ changes, which would have been impractical.
It fell to system tech Nick Boulton, who was making his debut on MLA, to come up with a viable solution. He explained, “We did some modelling with the aim of getting as much even coverage throughout the arena while keeping the weird noises off the stage. With the end of the thrust 60ft into the room it was well within the coverage area of MLA so we simply moved the hangs downstage.”
He was replacing the band’s usual system tech Toby Donovan, who assumed crew chief duties for this tour. However, Boulton had worked previously with Dave Roden on last year’s
World - An app designed to serve as a pocketable all-in-one toolbox for the events industry has been released.
Toolbox, developed by UK lighting, rigging and previsualisation services company ETS, combines over 20 virtual tools, converters and guides in a single app.
Designed to make it easier for lighting, audio, and video technicians to get on with their daily tasks, Toolbox includes DMX, power, weight/length and currency converters; vehicle, wiring and knot guides; information for over 2,600 pieces of equipment; filter and gobo libraries; beam and patch calculators; a decibel meter, and more.
The app is currently only available for iOS devices through the App Store (£9.99 for a lifetime licence) but ETS is working on an Android version, to be released by September.
USA - ESTA reports that two standards have been revised, and are being offered for public review.
BSR E1.6 - 1 - 202x, Powered Rigging Systems has been revised to correct errata in section 6.6, which addresses design factors for certain system elements. The public review only covers the revisions made in that section, and no comments regarding other sections are being solicited at this time.
BSR E1.39 - 202x, Entertainment Technology - Selection and Use of Personal Fall Arrest Systems on Portable Structures Used in the Entertainment Industry, is a revision of ANSI E1.39-2015, which is being updated for consistency with current industry practice and technologies. This standard establishes minimum requirements for the selection and use of personal fall arrest systems (PFAS) on portable structures in the entertainment industry. In addition, the standard establishes minimum requirements for products and portable structures used in the service of PFAS.
The public review period for both draft standards runs through 28 June 2020. The draft revisions, review instructions, and pubic review forms for each document are now available for download at https://tsp.esta.org/tsp/documents/public_review_docs.php.
USA - Professional camera and lighting rental companies have come together to collaborate in creating guidance documents for safely resuming rentals to the film/television/commercial production community in the wake of the COVID-19 pandemic.
The task group was assembled by the Production Equipment Rental Group (part of entertainment trade association ESTA). The objective is to provide a unified set of industry-wide guidelines that address health and safety challenges related to the rental of production equipment and ensure that any risks to production companies, studios, and customers are minimised.
The task group is working with other industry groups to ensure that PERG’s recommendations address client needs and concerns and harmonize with safety protocols developed by the studios and others, while also adhering to the recommendations of the CDC, OSHA, and state and local health departments. The group recognizes the challenges of providing protection against contagion for cast and crew on set. PERG aims to alleviate at least part of that challenge by giving productions full confidence in their equipment partners.
The Audio Engineering Society has begun to announce programme details for the upcoming Virtual Vienna Convention, including three keynote lectures and the Heyser Presentation.
As a result of circumstances dictating the move of the convention to an online format, the Audio Engineering Society is bringing the AES Europe Convention directly to virtual attendees around the globe, with keynotes from AES Fellow Jamie Angus (University of Salford), Marisa Hoeschele (Acoustics Research Institute, Austrian Academy of Sciences) and Franz Zotter (Institute for Electronic Music and Acoustics, University of Arts and Music, Graz), as well as this year’s Heyser Presentation by AES Fellow Francis Rumsey (technical consultant, author).
Additional details on the AES Virtual Vienna Convention Technical Programme, including topics and events, paper presentations, workshops, tutorials, posters, engineering briefs, virtual tech tours and other technical programme content, along with live- and forum-based dialogue with presenters, will be announced soon.
The AES Virtual Vienna Convention will take place online 2-5 June. Registration and preliminary information are available at AESEurope.com.
Europe - Nexo’s Engineering Support Division continues its popular series of online webinars with a menu of topics which will appeal to sound engineers working with all brands of professional equipment.
Nexo is using Facebook Live on its popular channel to present these e-learning sessions, part of Yamaha’s extensive Audioversity tuition resource.
“We’ve carefully considered these sessions so that they will also interest engineers and venue owners/operators who may not yet be familiar with Nexo systems,” explains lead trainer Nicolas Poitrenaud. “We are confident that these Facebook Live sessions will provide skills and knowledge to enhance the business activities of many professionals, especially in these difficult times.”
The latest additions include:
Tuesday 5 May @ 10.00hrs: Fundamentals of Acoustics in English with Nicolas Poitrenaud (120 minutes). This webinar covers the basics of acoustics and psychoacoustics for live sound application. Sound radiation, propagation and perception are explained in order to make participants confidents with the main acoustic parameters and phenomena.
Wednesday 6 May @ 10.00hrs: Introduction to NS-1 in English with Nicolas Poitrenaud (120 minutes). An introduction to NS1, Nexo’s acoustic simulation programme. It presents sound system design principles using software workflow starting from venue creation and system implementation, up to its acoustical and mechanical settings to optimize its performance in a venue. Participants work on two different solutions using Nexo
UK - More than 25 years after they catapulted into the UK charts, and 10 since disbanding to produce solo material, British rockers Supergrass returned to touring with audio rental house Britannia Row in February and March.
Describing his sound crew as being “amazing at their jobs”, production manager Adam King has, by his own admission, “loved” working with Brit Row and the Supergrass team for the band’s recent return to live music.
Supergrass were ‘lucky’ in the sense that they finished their seven date UK run - which culminated in two sold out shows at London’s Alexandra Palace - prior to lockdown. FOH engineer Max Bisgrove notes: “We had two fantastic gigs in London, and as these were my last two shows for what will no doubt be quite some time, it was good to go out on such a high note.”
King agrees, “The Ally Pally sound check sounded incredible in an empty room. It’s near enough impossible to achieve that, given that the venue is half a mile of concrete and a glass roof! The engineers did a really amazing job.
“I like to think of Supergrass as a classy punk band; they’re so powerful live. I was really pleased they decided to get back together because they’re one of our great British rock bands.”
“What struck me when I met them was the pure rush of energy that hits the second they start playing. It was quite a moment,” continues Bisgrove. “I had my brief for the mix instantaneously; try and get that energy across to an audience and make it as exciting as it had been for me in our rehearsal space
Poland - The Culture and Reading Centre in the southern Polish town of Radlów is a local government institution that stages a range of activities and performances promoting the participation of the local community in cultural and educational pursuits.
The centre organises regular activities such as workshops, theatre and fitness classes, as well as one-off events encompassing everything from festivals and exhibitions to concerts and competitions. These feature not only visiting artists but also involve local groups, some of whom are resident at the centre. Music is a very important central theme for this vibrant and busy hub.
As a new establishment, the building required a high quality sound system in order to deliver the best experience for performers and audiences alike. The principal area to be covered was the centre’s ground floor Main Hall, a multi-purpose space with a stage and flexible seating arrangements, that can accommodate up to 300 people.
On the basis of its size and technical functionality, audio specialists Tommex, chose a Coda Audio CoRAY solution. Tommex designed a system comprising two flown CoRAY 4i columns per side (asymmetrical 30°/60° angle) were deployed, with a single Coda G18 SUB per side. These were supplemented by two Coda HOPS5 as front-fills, and four Coda CUE Four stage monitors.
A single Coda Linus10-C powers the front of house, with a LINUS5-C for the monitors. The system comfortably covers every audience member and is flexible enough to cater for the widest possible range of applications. The subs, fron
Europe - Spanish AV equipment manufacturer Equipson has appointed Netherlands-based Tau Audio Solutions as its audio distributor in Benelux, with responsibility for its entire range of Work Pro products.
For more than 20 years, TAU Audio Solutions has been a wholesaler and distributor of audio and communications systems. The company handles a variety of commercial and professional audio products including induction/hearing loops, microphone systems, voice alarm systems, rack and accessories. As well as selling products, Tau also provides advice and training to customers from its extensive showroom facilities in Groningen.
As Equipson's Benelux distributor, Tau will be responsible for handling the company's entire range of Work Pro audio products which include loudspeakers, amplifiers, mixers, microphones and control systems, as well as an extensive range of audio accessories. With a continuous focus on research and development and by aligning product development with feedback from the market, Work Pro is constantly expanding its portfolio.
Senta van der Vaart, TAU Audio Solutions' business manager, says: "We are very excited to become the distributor for Work Pro in the Benelux. It is a perfect addition to our product portfolio and allows us to serve our customers even better. We have experienced very pleasant and professional support from Work Pro and we are looking forward to a long-term cooperation."
Juan José Vila, Equipson’s CEO, adds: "Tau Audio Solutions is well-known and recognised as a reference company in the territory and we are
UK - L-Acoustics Creations has recently appointed Nick Fichte to the role of business manager.
The appointment completes the existing new business team and “positions the division to make headway in key installation markets, leveraging the relationships and knowledge that Nick has forged in his 15-year career in the AV industry”.
Fichte first stepped into the AV industry when he was still a student, applying to work for custom installer, Audio Vision. He was offered the position and boarded a flight to Turkey the following day to assist on technology integration for one of the world’s largest superyachts. This experience cemented a vocation and led to his career progressing at Audio Vision where he became store manager of one of their Bang & Olufsen dealerships. Nick later held sales roles at London-based custom installers Olive Audio Visual and Inspired Dwellings, then, prior to joining L-Acoustics, Crestron.
Fichte comments: “I am extremely excited to join such a world-renowned professional audio manufacturer to drive growth as we enter the residential and marine AV markets. With unique solutions designed for the most exclusive homes and yachts, this is going to be a great journey.”
“We are very pleased to have Nick on board,” comments Christian Heil, president and founder of L-Acoustics. “L-Acoustics Creations brings a new way to experience music and home entertainment to market. It requires rethinking current approaches which in turn requires close collaboration with integrators and end users. Fichte’s proven abilit
USA - ClearOne has been awarded a strategic new patent relating to power transmission for Power over Ethernet (PoE) systems by the US Patent and Trademark Office.
Awarded on 14 April, 2020, the patent describes a simple method for providing power to multiple devices in a ‘daisy-chain’ series connection using PoE. Use of the new method can eliminate the 100m Ethernet distance constraint for power and data transmission.
ClearOne’s technology disclosed in this patent brings powerful benefits for at least two important applications. First, it is useful for devices such as audio products including microphones and speakers, security and conferencing cameras, remote sensors, smart home technologies like thermostats and alarm systems, as well as computers and displays, all of which can be freely deployed anywhere within the reach of an Ethernet cable.
As an example of this application, ClearOne uses the patented technology in its professional audio products, including its beam-forming microphone array ceiling tiles. The patented technology allows Converge Pro 2 DSP mixers to communicate with its beam-forming microphone arrays at distances that greatly exceed traditional distance limitations for conferencing equipment, providing additional deployment options when compared with other Ethernet technologies like Audinate’s Dante.
Second, the patented technology is also useful for transmitting power only, without data, where access to electrical power outlets may be inconvenient or power outlet safety is a concern. For example, mobile device cha
UK - Boutique mixer brand MasterSounds has launched a third generation of its Radius 2 and Radius 4 DJ mixers, which contain various technology enhancements.
Originally launched in 2016, the two-channel Radius 2 rotary DJ mixer became an instant hit with the high-end DJ and club installation community, and was followed by the introduction of the four-channel Radius 4 mixer, two valve-based versions (the Radius Two and Four Valve), an FX unit and dedicated LinearPOWER supply accessory.
"Four years on, and the brand has seen remarkable growth but the higher production costs of a premium rotary mixer rule them out for DJs on a tighter budget,” explains MasterSounds’ founder, Ryan Shaw. “Designer, Andy Rigby-Jones, and I decided to do something about it, by redesigning the compact Radius 2 and Radius 4 to make them more affordable but without compromising any of the features, the feel, or the audio fidelity of the original model.”
The new generation Radius 2 and 4 offer “clean, open, and dynamic sonic quality on both LINE and RIAA inputs”, as well as improved usability. Both mixers feature easy-reading analogue VU meters, a responsive Master EQ/Isolator, a smooth natural sounding hi-pass filter on each channel, and an AUX send/Return system with insert button for easy integration of external effects, including MasterSounds own FX unit. Radius 4 also includes two mic inputs, selectable via the rear panel.
“The redesign challenge meant going back to the drawing board to see where we could simplify the circuitry without impairing perfo
USA - Demonstrating creativity and resilience in the face of the COVID-19 pandemic, Stampede is turning its Cleveland, Ohio Big Book of AV tour stop into a live virtual event on 14 May that will feature pre-arranged one-to-one manufacturer-reseller focused virtual sessions on Stampede’s new COVID-19 business engagement platform.
“Nothing is going to get in the way of Stampede helping its resellers to succeed in this challenging business environment,” Stampede president & CEO Kevin Kelly says. “Resellers all across North America rely upon Stampede to provide them with the latest new products, business development programs and training that will enable them to take their businesses to a higher level of success. In the current environment, we are pivoting to virtual events to meet our resellers’ needs.”
Cleveland will be the first of several virtual Big Book of AV events. Calgary will follow. According to Kelly, participating manufacturers include Atlona, Vidyo, Sharp, Samsung, NEC, Newline, Mustang, LG, Planar, and Jabra, with more manufacturers expected to join.
Utilizing Vidyo’s video conference platform, the five-hour virtual event will feature one-on-one meetings with manufacturers from every product category that will provide resellers with information on the latest audio, video, display, projection, lighting and staging, digital signage, conferencing, digital content creation, networking, and signal distribution solutions.
Participating resellers will receive a free $250 Stampede credit for just for attend
UK - Celestion has released a library of videos on the CelestionUK YouTube channel offering demonstrations, user tips, reviews, and expert advice, enabling players and producers alike to gain maximum tonal benefit from using the extensive family of Celestion Impulse Responses. Celestion’s collection of guitar and bass speaker IR tones are suited to artists, musicians, engineers, players and producers who are working at home right now, and are available for audition and download at CelestionPlus.com.
Celestion IRs (impulse responses) are accurate digital representations of the company’s speakers, available for download. They allow users to closely simulate by digital means, the tone that one would get from playing a guitar (or bass) through one of Celestion’s physical speakers.
The videos are presented by a wide variety of accomplished artists, songwriters, performers and mix engineers.
Nashville-based guitarist, songwriter and musical director Chris Wrate has worked with A-list artists such as Kelsea Ballerini, Ariana Grande, David Foster, Daniel Powter, Colbie Caillat and Charice, as well as playing on TV shows like Oprah, American Idol and The Tonight Show.
Celebrated guitarist Pete Thorn is a long time Celestion IR user and has presented several comprehensive videos demonstrating the flexibility of Celestion IRs and highlighting some of their main advantages.
British guitarist Robby Miller is known for performing and recor
USA - Michigan-bred and Nashville-based Asher Postman is an electronic music specialist. On top of crafting his own songs, he has remixed artists from Riley Clemmons to The Chainsmokers. His tutorials garner six-figure YouTube views. Postman keeps his setup simple - he works in software on a single desk - but he recently got a game-changing upgrade: a pair of Adam Audio A7X active nearfield studio monitors.
“I first heard the Adam monitors when a friend from Detroit and I went on a writing retreat,” recounts Postman. “His name is David Chapdelaine and his artist project is called Augest, with an ‘e’. We had a cabin on Torch Lake in Michigan and his A7Xs were the speakers we brought. I was in the market for new monitors and was immediately impressed. I decided I had to get my own.”
Postman explains what impressed him first: “We were travelling light and brought minimal setups. There was no subwoofer - and we’re electronic guys who like subs! The low end sounded really good and we put things together that sounded right when later we played the tracks on systems that did have subs. I want to mention that the lower mids are really nice as well, whereas on my previous speakers they were nowhere near as defined.”
Postman also found that the A7X monitors helped him tune his Nashville studio. “My old room in Nashville was oddly shaped and I was getting a bad resonance at around 130Hz,” he recalls. “The Adams can already sound good in a problem room, but their accuracy made it very easy for me to find that bad frequency using measurem
Australia - After 35 years of manufacturing professional audio products, including its popular blue boxes, Melbourne-based pro audio manufacturer ARX Systems has decided the time is right for a cosmetic upgrade across their rack mountable range.
Starting with the ZoneMIX multimedia zone mixer, now shipping globally, ARX signal processing products will be manufactured with a stylish grey front panel with blue screen print.
“It was a big decision for us to make this change, but it makes sense for us to keep evolving as a company. We are continually upgrading what’s inside the box but until now have not looked at the cosmetics. The new look makes the front panel lighter and the controls are clearer - especially for installations where light or view is limited,” comments Colin Park, managing director and co-founder of ARX Systems.
Designed to cope with the variety of audio sources found on multimedia devices today, the ZoneMix is a 1RU multi-channel mic/line zone mixer that features wireless audio, USB and minijack inputs, two mic/line inputs, stereo line input, and Zone 1 and 2 Stereo Master level controls.
UK - Playing a role in keeping its listeners connected during the coronavirus lockdown, community radio station, East Leeds FM’s newly created remote broadcasting setup has an Allen & Heath SQ-5 at its heart.
Although created as an Internet broadcaster, East Leeds FM identified a need to provide information, advice and company over FM radio to vulnerable older residents without Internet access. The station quickly secured a temporary FM licence and created a new daily show, Keeping A Distance, Staying Close.
With presenters and technicians unable to access the station’s regular home at the Chapel FM arts centre in Leeds, UK since March, it fell to volunteer and former BBC sound engineer, Phil Driscoll to devise a solution for recording and broadcasting the show.
Phil’s office has become the nerve centre of the organisation, handling the live broadcast, external presenters, contributors and interviewees, along with playout of pre-recorded material and jingles. An Allen & Heath SQ-5 console, originally purchased for recording brass band performances, is now moonlighting as a broadcast console, mixing the main programme, handling talkback and managing clean feed cue sends to remote contributors.
“The SQ-5 has performed flawlessly. The flexibility of the routing and the multiple mixes has meant that I can configure it to behave like a radio desk, even though it wasn't designed as one,” comments Driscoll. “The trickiest challenge was setting up individual talkbacks to each outside source so that I can talk to contributors
USA - The Orpheum Theatre is a 1,364-seat performance space located in downtown Phoenix, Arizona.
Opened in 1929, the ornate, elaborate construction of the Orpheum was adorned within by magnificent murals and mouldings that set the stage for Vaudeville and motion pictures. As Vaudeville died out, movies became the primary use - Paramount purchased the facility in the 1940s and used it as one of its motion picture houses through the 1960s.
The Nederlander Organisation then purchased the building to host travelling Broadway performances. In the 1970s a local family bought the location and hosted, primarily, Spanish-language performances and films. In the 1980s the venue branched out to live performance - and acts such as The Ramones, Metallica, Nirvana and REM played the venue as part of their tours.
It was then, in the 80s, when folks started to notice the venue had fallen into disrepair.
“It needed a lot of work after years of use for different performances,” opens David Cruse, theatrical venues manager at the City of Phoenix - the governing authority that oversees the Orpheum Theatre. “The proscenium arch had cut-outs in it where a larger movie screen had been installed. The murals had been painted over with black paint so as not to detract from the film. Luckily, the citizens of Phoenix really took notice and asked the city to step in, which it did.”
The theatre underwent a $14m renovation and reopened in 1997, with Carol Channing’s last performance of Hello Dolly. It has been in operation ever since.
Europe - Shure worked with Southby Productions to supply Icelandic singer, songwriter and music producer, Bjork, on her concert tour and first theatrical production, Cornucopia.
The production is a theatrical experience which toured arenas across Europe, including London’s The O2, and took up residency in New York City’s The Shed and Mexico City’s Parque Bicentenario. The show, described as Bjork’s most elaborate stage concert yet, included a 50-piece Icelandic choir, a live band including a seven-piece flute ensemble, a harpist, a percussion section, water drums, a magnetic harp and a number of bespoke instruments which were implemented in the immersive sound stage design.
The show was devised and rehearsed at an Icelandic lighthouse and the Backstage Centre production facility in Essex. With the show evolving daily, the crew were required to work closely together and adapt quickly to changing specifications. “As the kit supplier, the journey began with the wider team a couple of years back,” comments Chris Jones, director at Southby productions. “When it was decided the show would be immersive, that's when the sound engineer, John Gale, reached out to Southby for their experience.
“I suggested we demo all the kit together, so we set up a system in a venue and were really able to trial the whole concept. This proved invaluable, as the show was so unique; all departments had to work very closely together to pull the whole thing off.”
The Cornucopia production was designed by Bjork around a soundscape and opened