live sound international 1406

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Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 23 No.6, is published monthly by EH Publishing, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico subscriptions are $60 per year. For all other countries subscriptions are $140 per year, airmail. All subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. Canada Subscriptions: Canada Post Agreement Number 40612608. Send changes of address information and blocks of undeliverable copies to Pitney Bowes International, PO Box 25542, London, ON N6C 6B2. POSTMASTER: send address changes to Live Sound International, PO Box 989, Framingham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing offices. Reproduction of this magazine in whole or part without written permission of the publisher is prohibited. Live Sound International® is a registered trademark of EH Publishing Inc. All rights reserved. 2014 EH Publishing. Check us out on the web at http://www.prosoundweb.com.

IN THIS ISSUE

FEATURES16 | Halcyon DaysConcert sound to match Ellie Goulding’s long

journey. by Greg DeTogne

20 | loud, Loud, LOUDTalking sound pressure levels with Dave Rat.

by Keith Clark

46 | Plugging InThe ever-growing processing stable provided by

plug-ins. by Craig Leerman

56 | Traditional To Contemporary Transitioning a system to meet modern require-

ments. by R. Maxwell16

JUNE 2014

8 | Loading DockEQUIPMENT New software, subwoofers,

amplifiers and more.

12 | In ProfileMick Whelan, new director of U.S. opera-

tions at Adamson Systems. by Kevin Young

24| Tech TopicThe factors involved in attaining uniform

coverage. by Bob McCarthy

30 | SpotlightInside subwoofer designs and configura-

tions. by Craig Leerman

36 | In FocusPsychoacoustics from an audio engineer’s

perspective. by Todd Hartmann

42 | Front LinesThe value of selective muting to the mix.

by Chris Huff

52 | Designer NotebookThe new Radio Active Designs UV-1G wire-

less intercom system. by James Stoffo

58 | Road TestEvaluating the Audio-Technica BP894

condenser headworn microphone.

by Craig Leerman

62 | Real World GearEQUIPMENT Microphones for a variety of

live vocal and instrument applications.

by Live Sound staff

6 | From the Editor’s Desk

68 | NewsBytes

71 | Advertiser Index

72 | Back Page

DEPARTMENTS

46

6856

I N T E R N A T I O N A L

VOLUME 23 | NUMBER 6

.co

m

Publisher | Kevin McPherson | [email protected] | Keith Clark | [email protected]

Senior Contributing Editor | Craig Leerman | [email protected] Technical Editor | Ken DeLoria | [email protected] Sound Editor | Mike Sessler | [email protected]

Europe Editor | Paul Watson | [email protected] Consultant | Pat Brown | [email protected]

Art Director | Katie Stockham | [email protected] Art Director | Dorian Gittlitz | [email protected]

ProSoundWeb.comEditor-In-Chief | Keith Clark | [email protected]

Product Specialist | Craig Leerman | [email protected] | Guy Caiola | [email protected]

Kevin Young | Bob McCarthy | James Stoffo | Chris HuffGreg DeTogne | Todd Hartmann | R. Maxwell

Live Sound International111 Speen Street, Suite 200

Framingham, MA 01701Phone: 800.375.8015www.livesoundint.com

Jeff Turner | Account Executive415.455.8301 Fax: 801.640.1731

[email protected]

Mark Shemet | Associate Publisher Online, ProSoundWeb.com603.532.4608 | Fax: 603.532.5855

[email protected]

Manuela Rosengard | Ad Production Director508.663.1500 x226 | [email protected]

Jason Litchfi eld | Ad Production Manager508.663.1500 x252 | jlitchfi [email protected]

Circulation and Customer Service inquiries should be made to:Live Sound Customer Service

EH PublishingPhone: 800-375-8015, ext 294

(Outside the U.S.: 508.663.1500 x294)Fax: 508.663.1599

[email protected] Speen Street, Suite 200

Framingham, MA 01701

EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSESCirculation & Subscriptions | [email protected]

Loading Dock Submissions | [email protected] Wide Web Inquiries | [email protected] Rate Information | [email protected]

REPRINTS: Erica Halloran 508.663.1500 x265 | [email protected]

From the Editor’s Desk…One of the “hot button” topics in pro audio is sound pressure levels. As I note at the outset of my interview with Dave Rat in this issue,

it’s something I’m increasingly asked about these days. As usual, Dave provides a unique take on the subject, both as it relates to concert sound as well as touching on other aspects of entertain-ment, raising some interesting points.

Another piece in this issue is a fi tting compan-ion to Dave’s take, with Todd Hartmann explor-ing the role that psychoacoustics can play from an audio engineer’s perspective. I think you’ll recognize the value of Todd’s work in examin-ing key aspects of the matter, and what I also

appreciate is that he worked with some very qualifi ed sources to keep his discussion on target.

And welcome aboard to Bob McCarthy, who steps up with a detailed article that’s focused on attaining uniform coverage. Some of you may know Bob from his 30-plus years of design and tuning work as well as his book Sound Systems: Design and Optimization, a must-have refer-ence covering vital audio concepts. Meanwhile, senior contributing edi-tor Craig Leerman delivers a thorough look at subwoofer designs and confi gurations, as well as checking on what’s happening with plug-ins.

In addition, noted RF consultant James Stoffo supplies the details on the new wireless technology he’s been working on with his associates in light of ongoing changes with the RF spectrum, and Kevin Young offers an interesting profi le of Mick Whelan as he takes on a new role after more than 40 years in pro audio.

And as always, there’s much more. Enjoy the issue.

Keith ClarkEditor In Chief, Live Sound International/ProSoundWeb

[email protected]

ON THE COVER: Ellie Goulding performing on her North American tour with a Sennheiser transmitter equipped with a DPA d:factor II capsule. (Photo by Steve Jennings)

www.solidstatelogic.com/live

SSL Live

[email protected]

LOADINGDOCK

8 Live Sound International June 2014 www.ProSoundWeb.com

Alcons Audio LR24 @A 3-way line-source loudspeaker for use as a vertical array, either in

stacked or flown configurations, for large applications. The HF sec-

tion is headed by the RBN1402rsr pro-ribbon driver (with 14-inch

voice coil) with high sensitivity and high HF peak power handling

of 3,000 watts. The MF section incorporates 6.5-inch neodymium

midrange transducers in a symmetrical loaded configuration. The

section is made of aluminum and forms an integral part with the HF

section for optimized heat management. The LF section consists of

two long-excursion, reflex-loaded 12-inch woofers with carbon-

reinforced cones. The neodymium motor structure is outfitted with

a 4-inch voice coil and dual-spider suspension with forced venting.

The proprietary “Signal Integrity Sensing” pre-wiring of the LF and

MF sections ensures a fully dynamic cable/connector compensa-

tion between the LR24 and Alcons Sentinel amplified loudspeaker

controller. The horizontal dispersion of 80 degrees is maintained

down to 190 Hz, while the vertical dispersion enables a maximum

cabinet splay angle of 6 degrees while still maintaining complete

wavefront coherency. Linear frequency response is stated as 51

Hz to 20 kHz (-3 dB), and low-end control can be extended by the

LB24 dual-12-inch bass array extension with the same cabinet

footprint. www.alconsaudio.com

Adamson Systems E219 @A subwoofer joining the Energia Series with two front-loaded,

long-excursion 19-inch Kevlar neodymium drivers (with 5-inch

voice coils) utilizing the company’s Advanced Cone Archi-

tecture. A proprietary tangential flow venting system reduces

harmonic distortion by minimizing air turbulence. The E219 is

packaged with the Lab.gruppen PLM 20000Q amplifier, and

four cabinets can run from a single amp. Integrated rigging

permits a 0- or 3-degree angle for compatibility with full-range

Energia line arrays. The cabinet measures 23.5 x 56 x 35

inches (h x w x d), weighs 249 pounds, and is constructed

of marine grade birch plywood as well as aircraft grade steel

and aluminum. It is equipped with three Speakon NL8 con-

nectors, two parallel in/out plugs, and a dedicated output

connection point. www.adamsonsystems.com

Soundcraft Si Expression/ Si Performer v1.6 & Si Compact v3.1 ¤New software versions avail-

able for download from

the company website

that offer several

new features and

improvements for Si

Series consoles, including BSS

Soundweb London preamp control,

external clocking via option cards, selectable

input solo modes, select follow solo, pre-dynamics

global bus send, knob bubble pin, and momentary on. With the

v1.6/v3.1 update, Si Expression, Si Performer, and Si Compact

have new features specifically geared to improve performance for

networked audio and monitoring applications. In addition, updated

user guides for the Si Dante card, v1.6/v3.1 software update, and

Mini Stagebox 32 are also now available from the website.

www.soundcraft.com, www.harmanpro.com

¤ Kaltman Creations RF-Vue UpgradesThe Invisible Waves RF-Vue touch tablet RF analyzer now

ships with a Dell Latitude 10-inch tablet that offers better and

faster finger gesture control, faster sweep speeds, and larger

memory and hard drive size than previously available. Main

features of RF-Vue and the Dell tablet include a

frequency range of 50 MHz to 2.5 GHz; current,

average, and peak spectral traces; Touch-to-Listen

(listen-in capability); RF Congestion Scale to gauge

the severity of local RF; cus-

tomizable screen markers; and

insta-save custom profiles.

RF-Vue is also offered for use

with a customer’s own

tablet or laptop. For a

limited time, RF-Vue will

include RFintermodPRO

software at no charge

(normally a $275 value). RF-intermodPRO is “one-click assign-

ment” intermodulation predictive software that can be used

either stand-alone or integrated with RF-Vue. It incorporates

the analyzer’s real-time spectral data into the intermodula-

tion calculation process, fostering highly accurate frequency

coordination. www.kaltmancreationsllc.com

www.ProSoundWeb.com June 2014 Live Sound International 9

Products Fresh Off the Truck

Mackie Thump Series ¤A revamped series of powered loudspeakers that are outfitted

with more than twice the onboard audio power of their predeces-

sors. Full-range models include the Thump12 and Thump15,

integrating an amplifier that is specified as delivering more than

1,000 watts of power, joined by crossovers, transducer time

alignment, and a unique

3-band EQ with a

sweepable mid.

Also included are

flexible mounting

options, combo

mic/line inputs,

and a stage wedge angle. The Thump18S is an 18-inch sub-

woofer in a band-pass design, driven by a 1,200-watt amplifier.

Also onboard are system protection and a range of I/O.

www.mackie.com, www.loudtechinc.com

RCF ART 745-A 2A 2-way active loudspeaker joining the

ART Series that is outfitted with a 4-inch

voice coil compression driver and a

15-inch woofer (with 3.5-inch voice coil).

The newly engineered ND 940 compres-

sion driver is further bolstered by a neo-

dymium magnet structure, and it feeds a

90- x 60-degree (h x v) constant directiv-

ity horn. The driver/horn combination

fosters a crossover point of 650 Hz, meaning

that almost all of the vocal range is handled by the driver, enhancing

impulse response, fast waterfall decay, and efficiency that results in

enhanced vocal clarity and projection. The woofer also incorporates

a neodymium magnet structure. Transducers are driven by a class

D, 1,400-watt (peak) onboard power amplifier, joined by DSP that

includes crossover, equalization, phase alignment, soft limiting and

loudspeaker protection. The rear panel I/O configuration includes

XLR/jack (combo) balanced inputs, XLR output link, volume, and a

switchable EQ mode (flat/boost). The cabinet, designed for use in

standard or stage monitor modes, is molded of a special polypropyl-

ene composite material. www.rcf-usa.com

¤ Yamaha Commercial Audio MA2030 & PA2030New power amplifiers

joining the Commercial

Installation Solutions

(CIS) product line that

both offer a user-friendly

UI. The MA2030 is actu-

ally a mixer-amplifier

outfitted with DSP technology that facilitates functions such as

priority ducking, feedback reduction, auto leveling, loudspeaker

processing, and remote connectivity. It includes three stereo line

inputs (two RCA, one mini-stereo plug), two mic inputs (one Euro-

block, one combination XLR/phone jack), one stereo output (RCA),

two amplifier outputs (2 x 30 watts at high impedance, 70-volt or

100-volt, or low impedance from 3 to 8 ohms), and one DCP con-

trol port to work with the optional DCP1V1S wall controller panel

that connects via a Cat-5 cable. The PA2030 provides more power

by adding two more 30-watt channels to the MA2030, and it is also

suited to serve as a high- or low-impedance amplifier, equipped

with an efficient class-D circuit with a fan-less cooling design. It

has two stereo line input options (RCA and Euroblock) and two

amplifier outputs (2 x 30 watts at high impedance, 70-volt or 100-

volt, or low impedance from 3 to 8 ohms). www.yamahaca.com

Crown Audio DCi Network Display 8|600ND & 4|1250ND @Two power amplifiers joining the DriveCore Install (DCi) Series

that are both outfitted with AVB (Audio Video Bridging) con-

nectivity and certified by the AVnu Alliance. They include a

front-panel display and LED indicators that provide at-a-glance

indication of key parameters. A large multifunction knob and

push buttons enable quick access to control functions. Both

models are compatible with Harman HiQnet Audio Architect sys-

tem setup and control software, and utilize TCP/IP-based proto-

col in HiQnet for network monitoring and control. The 8-channel

DCi 8|600ND delivers 600 watts into 8 ohms (300, 600 and 300

watts into 16, 4 and 2 ohms) and the 4-channel DCi 4|1250ND

provides 1,250 watts into 8, 4 or 2 ohms (625 watts into 16

ohms). Both offer direct drive “constant voltage” capabilities for

70-volt/100-volt (RMS) amplification without need for a step-up

transformer. Networking and control features include continuous

load monitoring, comprehensive error reporting, pilot tone moni-

toring, and programmable general purpose input/output (GPIO)

ports. DSP capabilities include LevelMAX limiters for the inputs

and outputs, as well as thermal limiting, input and output delay,

input and output EQ, built-in crossovers, and a built-in signal

generator. www.crownaudio.com, www.harmanpro.com

:: Loading Dock ::


Lectrosonics DNT16i & DNT0212 @An input (DNT16i) processor and output (DNT0212) processor supporting

both switched and redundant Dante modes of operation. Each unit also

includes 48 independent automatic mixers with 36 inputs per mixer. The

DNT16i has 16 mic/line analog inputs via Phoenix connectors with 48-volt

phantom power, and wide gain control on each. As a processor, the DNT16i

provides inputs into a Dante network from analog and digital signals. Each

input supplies signal processing and routing to any one or all of the 48

automatic mixers operating at the cross points of an internal digital matrix.

The outputs of the matrix can be assigned to a Dante transmit channel and/

or be routed back to an input in order to be further mixed with other inputs.

The DNT0212 offers two line level analog inputs, eight line level analog out-

puts, and four mic/line analog outputs. It subscribes to channels on a Dante

network and delivers them to an internal digital matrix for automatic mixing

and processing. All DNT units can be controlled via USB, RS-232, Ethernet

and programmable logic I/O. The Dante network protocol is built on global

networking standards, including Internet Protocols. www.lectrosonics.com

Furman P-8 PRO C ¤A 20Amp power conditioner joining the Classic Series

that includes proprietary technologies such as Series

Multi-Stage Protection (SMP) and Linear Filtering

Technology (LiFT). Housed in a 1RU chassis with a

minimalistic front panel and nine outlets, the P-8 PRO C

is designed for applications where front panel metering

and illumination are not required. SMP surge protection

circuit technology safely absorbs, clamps, and dissipates

transient voltages, helping to eliminate service calls.

Over-voltage circuitry (EVS) protects against accidental

connections to 208 or 240 volts AC by shutting off incom-

ing power until over-voltage is completely corrected. LiFT

provides filtration against excessive AC line noise, helping

to ensure optimal performance without any leakage to

ground. www.furmansound.com, www.corebrands.com

Exclusive US distribution: Group One Ltd. Toll Free 877 292 1623 www.g1limited.com

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�� ACROSS MORE THAN four decades in pro audio, Mick Whelan has worn a substantial number of different hats: mix engineer for Paladin, The Sweet, and Manfred Mann’s Earth Band; Martin Audio’s first employee; sound designer and systems operator for Robin Trower, the Beach Boys and Carole King (to name just a few); executive for some of the top manufacturers in the industry ... and many more. Now, the tireless 63-years-young native of the UK has taken on his latest challenge as director of U.S. operations for Adamson Systems Engineering.

“I first met (company CEO) Brock Adamson in the mid 1980s when I was designing systems in California,” Whelan says. “He’s always way ahead of the curve in many areas.” So several months ago, when a mutual acquaintance mentioned there might be an opportunity to work with Adamson, he was intrigued. “Brock and I got to talking and thought our skills and philosophies would be compatible, so we made it happen.”

Officially coming aboard this past April, Whelan is focused on increas-ing the company’s visibility in the U.S.,

noting that Adamson Systems’ vision, technologies and outlook fit well with his core belief that the imagination of those he works with is integral to cre-ating solutions that will help everyone – clients of all descriptions and the com-pany itself – progress.

The willingness to be responsive to the ideas of others has been an integral part of his own success. “The day I stop learning or contributing, I’ll give up,” he states emphatically, adding that in his view, being open to learning is one of the prime drivers for success in pro audio specifically and the entertainment business in general.

“I’ve been really fortunate in that I’ve been able to listen to a lot of great ideas,” Whelan notes, citing as an example a conversation he had with Lars Brogaard, front of house engineer for Rod Stewart. “One day Lars told me that he wanted to hang a full PA with zero ground support. We take that for granted today, it’s com-mon, but in the 70s and 80’s, it wasn’t. Lars saw that doing so would make for better sightlines as well as make more seats available, leading to more revenue. Others had flown horns before, but I worked with his idea and came up with what I’d say was the first full-range front fill that flew from the main PA.”

HEALTHY RESPECTWhile he’s learned a lot of valuable lessons

throughout his career, Whelan also admits there are a few he would prefer not to have to re-learn. As an example, he

recalls the project he took on after first becoming interested in audio at the age

of eight while growing up in Coventry, England. It enhanced his interest but also inspired a focus on life safety going forward.

“I had this tube radio, which I think was given to me because the tuner was broken,” he explains. “I’d added an exten-sion loudspeaker to it and then proceeded to place external loudspeakers in our ventilation vents that probably caused all sorts of mold in the house, but they sounded really cool. To tune the radio I had to put my hand inside it and rotate this massive variable capacitor. Well, I was tuning it one day and, all of a sudden, I got a shock. It was like a hand grabbing my hand from inside the flipping radio and not letting me go. Fortunately, I was able to pull the plug with my other hand, but afterwards I had a healthy respect for everything thermionic.”

Continuing to indulge his passion for audio while growing up, including taking a course in telecommunications at Coventry Technical College, it was actually a lighting rig he’d designed for a local venue that won him his first professional gig. “It was an automated lighting system that would randomly sequence lights, so they wouldn’t stop if I left the mixer to fix something on stage. I always liked playing around with things and pushing limits, but it

Director of U.S. operations, Adamson Systems

by Kevin Young

IN PROFILE:MICK WHELAN

Mick Whelan

Mick serving as front of house engineer for George Benson at Wembley Arena in London, 1981.


:: In Profile ::

was that rig that prompted an offer to work with a band professionally.”

The band, progressive rock act Pala-din, had just played the venue where Whelan was working and asked him who had come up with the automated rig, and were impressed enough with it to offer him a position. The problem: not only was he still studying telecom-munications, he also had a job in that field. “It was about six weeks before finals, and I’d already passed the first two years. And I had a job. I went away for a weekend to think about it, and my friends talked me into it. So I handed in my notice on Monday when I got back and went from having a job I was doing well in to giving it all up and to join the flipping music industry.

“When people ask how I got into this business, I tell them that I said yes to the wrong people,” he continues with a laugh. Admittedly, it was a bit like running away to join the circus, but Whelan adds, “They told me, “Look, you’re going to get this beautiful Mer-cedes truck to drive, and our next album will be done at Apple Studios in Lon-don. And that all actually happened.”

He relocated to London and stayed with Paladin until the band folded in 1973, and he also ran FOH for other acts signed to the same management agency, such as Terry Dactyl & the Dinosaurs after a surprise hit record. Next up was joining Dave Martin of Martin Audio not long after he first opened an office in an old mushroom cellar at London’s Covent Garden Market.

“I was Dave’s first employee,” Whelan recalls. “I was hired after he got a con-tract to build these three big systems for the Sundown Theatres around London, which one person can’t do alone. After a few weeks, we needed someone else, so I brought in Terry Price of TASCO, who used to look after the drums for Paladin.”

ROAD STORIESThe theatre installations were the larg-est of their kind in the UK at the time,

and after their completion, Whelan was asked to run one of the theatres. But that stationary gig couldn’t compare with the excitement of touring, so after a year he hit the road again and was soon traveling the world with the likes of The Sweet and Manfred Mann.

He points out that many in the younger generation of pro audio don’t necessarily realize how dramatically dif-ferent the technological and logistical challenges facing bands and technicians

on tour were then. “It was an age when, if you wanted a stereo record, you had to special order it. Unless you worked in a studio, the straight fader hadn’t been introduced, almost everything was rotary. Even by 1974, when the band I was with was supporting Uriah Heep on a major summer tour in the U.S., all of the gear – Showco PA and lights – trav-eled in one semi truck.”

The most common touring PA in Europe was made by Watkins Electric Music (WEM), but often each band on a bill would use a different system. “You had to cooperate,” he says, referencing a 24-hour festival in Essen, Germany. “It was insane. There were rows and rows of PA, so we hooked up with the people who were scheduled close to our time to coordinate taking their PA down while

we shoved ours forward. And I’m talking about some pretty big walls of PA.”

There were many other interesting moments along the way. At the same Essen gig, for example, the system went down and Whelan watched panic grow in the eyes of one of the artists he personally idolized as the crowd began to get agitated. On the same gig, he unknowingly taunted Ritchie Blackmore of Deep Purple and immedi-ately dealt with the sinking feeling that his budding career might suddenly come to a

screeching halt. (Editor: There’s a full account of this anecdote on ProSoundWeb.)

His move from FOH to system design was more a natural progression than a change in career path, an exten-sion of a fascination with pushing the envelope, as he’d done when designing a horn-loaded mid range box for Manfred Mann. So when leading touring company Electrotec (Electrosound/TFA) offered him a job in 1975, he notes, “I didn’t say yes until they added, ‘We’re going to put the world’s largest PA together.’ Who wouldn’t say yes to that?”

As chief engineer at Electrotec, Whelan designed systems for artists such as Rod Stewart, Tom Petty, Bob Dylan, and Bob Marley, and for ven-ues with capacities ranging from 5,000 to 100,000, spending 19 years with the

A lot of horn-loading going on in the stacks for the PinkPop Festival in The Netherlands in 1978, where Mick handled system tech.


company. “The gear was fantastic. We were all tech-heads, and 24/7, all we were interested in was making music good and loud,” he recalls enthusiastically.

SHIFTING GEARSWhile he continued to reside in London, Whelan spent an inordinate amount of time on tour, and finally relocated to Los Angeles in 1978 after being in the U.S. an average of 10 out of 12 months a year over a long period. Even after taking on system design full time in 1983 he still spent a fair chunk of time working on the road. “If you’re not going to jump in the swimming pool, you’re not going to find the best way to swim,” he explains. “And if you’re not on the road, people think you’re not necessar-ily designing solutions for their situations.”

By now married with two daughters, he calmed the waters a bit in accept-ing an offer to join JBL Professional in Northridge, CA, followed a couple of years later by a bit of family-shared cul-ture shock in transitioning to a marketing position with Crown Audio in northern Indiana. “One daughter was about to go into high school and the other into middle school,” he says. “I knew it was a risk, and the kids probably hated me because I took them away from their friends. That was a real challenge, but my wife and I both felt it was the right thing. I was concerned about the increas-ing gang influence in the specific area we lived in. Another upside is that we got to take advantage of seasons other than ‘mudslide’ and ‘fire’,” he adds, laughing.

Whelan was going to handle artist relations for Crown, but that suddenly changed to product line manager before he even walked in the door. Though unexpected, the role proved quite ben-eficial, ultimately leading to the position of VP of marketing, where he was instru-mental in substantially raising the profile of both the company and its products.

And in doing so, he came to some con-clusions about marketing, the approach he feels companies should take to it, and the importance of engineering and

marketing departments carefully listen-ing to others and mining their ideas for better solutions. It’s a conviction he’s held to during subsequent stints with Telex Communications (Electro-Voice, Midas and Klark Teknik), a role that took him to his current home base of Burnsville, MN, and later as manager of the global relations department for Sennheiser.

“Simply, you can’t forget what the customer is looking for,” he concludes.

“I’ve really felt the power of market-ing, but it has to be done in such a way where you are actually on the bridge where you can see everything, where you’re working with engineering and manufacturing. When everybody shares a vision, how powerful is that?” n

Based in Toronto, KEVIN YOUNG is a freelance music and tech writer, profes-sional musician and composer.

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The Halcyon Days Tour has kept Ellie Goulding’s odom-eter spinning at a rapid clip since December 2012, when she embarked upon a nine-date introductory foray across the UK.

A trek across North America ensued in January of 2013 beginning in Miami Beach, and her wheels have just kept turning since, ultimately leading back across the Atlantic to her first UK arena tour in early March of this year followed by her latest conquest of North America that just ended in Ontario.

That brings us to Australia this June, then New Zealand, and Singapore, and well, you get the idea. The road does seemingly go on forever for this English singer-song-writer and multi-instrumentalist, whose soprano voice is noted for its breathy, soul-stirring vibrato and emotive phrasing. She has been described by Neil McCormick of London’s The Daily Telegraph as “something primal and folky,” with “bird-like high notes conveying a childlike wonder, while darker tones imply ancient depths of sorrow. She sings like she is strung out on the melody, warbling from a place of desperate emotion.”

Goulding bears the influences of wide-ranging genres such as synthpop, electronica, R&B, heavy metal, folk, hip hop, and classical. In recent times, she has moved away from the digitally-infused sound of her earlier years to one that is more tribal – maybe even a bit anthemic – relying more on piano and the pure strength of her voice.

Halcyon DaysSound to match Ellie Goulding’s long journey.by Gregory A. DeTogne,

Photos by Steve Jennings

��

:: Ellie Goulding ::


“Her musical arrangements are defi -nitely full-on,” says Halcyon Days front of house engineer Joe Harling, who stepped into the fray in January of this year. “Yet she sings very quietly onstage. That introduces a bit of a challenge to things every night.”

A “failed musician” by his own admis-sion who gravitated to the production side of things at FOH with acts like Mumford and Sons, Lana Del Rey, and Metronomy, Harling is aided and abetted during this chapter of his career journey by monitor engineer James Neale.

At The MercyJust as in the last North American leg of the tour, there was no budget for the band to carry its own PA when the act moved Down Under this June. “When we’re in situations like this, that kind of leaves us at the mercy of every promot-

er’s own abilities and honesty,” Harling notes. “More to the point, proper gear just isn’t always available everywhere. Sometimes the PA hasn’t been main-tained or has been outright neglected. We’re faced with under-powered amplification, PAs that haven’t been properly deployed to adequately cover the audience, and so forth.

“Since Ellie sings so quietly, there is a lot of gain on her mic,” he adds. “There-fore, if the PA is hung too far upstage,

we have problems. When we tour with our own PA, I always make sure it is hung as far forward as possible.”

With the tour’s trip to Oz, both Harling and Neale are orchestrating their respective worlds from behind the controls of DiGiCo SD10 consoles. Starting at the outputs, Harling utilized Lake LM 44 processing, which offered him four channels of system EQ. “I have four matrixes set up,” he explains, “left, right, subs, fi ll—all of which feed the LM 44 via AES. This provides me with better control over the house sys-tems I encounter that always seemingly want to defy my authority.

“The DiGiCo has a clever matrix mixer that basically allows me to send anything anywhere, so I actually have a band ‘master,’ and a vocal ‘master’ rather than just a left-right master. Given these capabilities, I can send different

amounts of my vocals and the band to the front fi lls than I do to the main PA, for instance. I can additionally keep the vocals completely out of the subs, without resorting to placing the subs on an aux.

“With the SD10,” he continues, “I run the Waves-qualified SoundGrid DSP server, which lets me use Waves plug-ins like the C6 multiband com-pressor and Renaissance EQ/comps over certain important channels and some subgroups. The DiGiCo is so

flexible in terms of routing that I’ve wound up doing some peculiar things, like sending snare top and bottom mics to a group, and then sending that sum back to a channel where I can process it and send it to reverb as a whole.”

Flat & HonestThe C6 plug-in is additionally Harling’s main tool for taming “ a loud little bit” in Goulding’s voice occurring at around 1K. Beyond that, he admits that there isn’t really much processing going on for lead vocals beyond some judicious use of EQ and compression, a Waves doubler to thicken things up, a short mono room reverb, and a longer stereo reverb at times.

Goulding’s mic sports a DPA d:facto II capsule on her Sennheiser EM wire-less transmitter, which, according to Harling, is “very fl at and honest, and is pretty stable in terms of gain-before-

Goulding sing-ing with an DPA d:facto II on a Sennheiser wireless transmitter.

The stage set for Ellie Goulding

and her band on the recent tour of

North America.


Halcyon Days front of house engineer Joe Harling at his DiGiCo SD10, and the selection of Sennheiser wireless IEM beltpacks and microphones.

Some of the miking approach for Joe Clegg’s kit.

feedback. We’re very careful to ring-out the mic in the PA each day from the stage, partly using the Lake LM 44 for any super-tight notches required, and partly using a graphic inserted over Ellie’s vocal group.

“Once that’s out of the way,” he adds, “it’s just about fi nding space in the mix, just like any other gig. I use the C6 over the band group too, one of its dynamic EQ bands processes Ellie’s vocals as a side chain. This dynamic EQ band is set pretty wide from about

700 Hz on up to maybe 4K, and just gently dips the level of the band in the vocal region when she sings.”

Other processing elements at Har-ling’s disposal include a Midas XL42 preamp equalizer that spreads its inimi-table and classic Midas sound over kick and snare drum, a SansAmp RBI that adds harmonics to synth bass, a Radial Phazer used to “line up” the kick drum mics, and an inexpensive Roland space echo pedal, which everyone seems to have latched onto these days for enhanc-ing the emotional content in vocals.

Fairly Straightforward The band continues to include MD and drummer Joe Clegg, Jihea Oh on keys and synth, Chris Ketley on guitar and keys, and Simon Francis on bass. With everyone using Sennheiser SR2050 IEM systems with EK2000 bodypacks, JH Audio JH16 custom-molded ear-phones were chosen for all as well.

“For me at the monitor end,” Neale relates, “I keep things fairly straightfor-ward without many plug-ins. The vocal chains are no-nonsense, in-and-out with just a little EQ and compression, and I also use a parallel compression technique on the vocals to keep them up in the mix the whole time.

“Onboard compression and EQ are used on the vocal chains to keep latency as low as possible,” he continues. “Latency in IEMs can sound strange, almost like a doubling effect. For the musicians, that can be very off-putting.”

Everyone on stage gets a fairly full mix, with each individual musician’s vocal and/or instrument sitting on the top. Joe Clegg began using a seat thumper earlier this year, a move that has made Neale’s job a little trickier, in that he has greater difficulty when it comes to accurately judging the amounts of low-end energy arriving up on the drum riser.

“I obviously have none of that in monitor world, so I try to sit in his posi-tion each day and play the kit to remind

:: Ellie Goulding ::

Monitor engineer James Neale at the DiGiCo SD7 console he used in North America.


Wireless systems interfaced with Sennheiser Wireless Systems Man-ager (WSM) software.

myself of how it feels for him,” Neale says, describing his seat-of-the-pants solution to the problem. “Ellie presents the biggest challenges, however, as the dynamic range of her vocal is so vast, yet she wants to hear the quiet bits as loudly and clearly as the louder ones. Every-thing she sings has to be right up there in the mix, but also sound dynamic.

“To compound matters, we get a lot of ambient spill arriving at her mic. The parallel compression technique I men-tioned helps here, but it’s not a solve-all. It’s always a balancing act from night-to-night.”

Achieving ConsistencyBack out front, Harling chooses the C6 once again to control the aggres-sive tendencies of the synths. “Sounds that are impressive at studio volumes often wind up just being harsh in live environments,” he says. “There are defi -nitely moments in this show where we can experience that. Compression can even things out, and as a mixer, you can’t overlook a few fader rides either.

As with Neale on monitors, Harling strives to make the house sound as real as possible. “Each song is so different,” he says, illustrating the raw essence of

all the challenges he faces each night. “And so dense, with layered keys, back-ing tracks that are limited into distor-tion, and heavy bass that it’s not really possible to achieve consistency over the duration of any gig. You just have to treat it as a journey.

“Then the individual elements will naturally find their place and come to the forefront as needed. I don’t use

much mix-bus compression or limiting. There’s enough of that in the source sounds themselves. Getting the vocal loud enough is the most important thing I have to achieve. Once I get that hap-pening, everything else is a bonus.” ■

GREGORY A. DETOGNE is a writer and editor who has served the pro audio industry for the past 30 years.


loud, Loud, LOUD

��

the purpose of a rock concert is for people to gather together and share an immer-sive and memorable experience, and if we can agree that saturating the human sensory preceptors can increase our level of immersion in a given situation, then it would follow that higher sound volumes would be helpful in achieving a high level of immersion. At higher sound levels we can “feel” the music while masking any auditory distractions.

Just like the acceleration of a roller coaster or the simultaneous cheers at a sporting event increases our excitement level and narrows our perceptual focus to what we currently see, feel and hear, so does the saturation of senses at a rock concert. Bright lights, loud rhyth-mic music, and a mass of humans gath-ered together with a common focus all coincide to bring a memory so desirable that concerts have spread to and exist at every corner of the planet.

So as to the question of volume levels being too high, my response is that yes, painfully harsh, poorly mixed sound is

THE TOPIC OF SOUND pressure lev-els at live shows increasingly comes up in my conversations with audio professionals. There’s no firm direction or action that I see coming in the near future, at least with respect to the U.S., outside of specific local and/or venue enforced rules. But given all of the talk on the topic of late, I thought it would be instructive to check in with long-time mix engineer (and LSI con-tributor) Dave Rat, who’s also the owner of Rat Sound Systems in Camarillo, CA.

Keith Clark: Are sound pressure levels too high at most pop/rock concerts?DAVE RAT: As with any perceptual-based opinion – “too loud, too soft, too fast, too dangerous” and so on – I have to say “it really depends.” If we can agree that

always too loud. Is volume too loud as a generalized whole? In my expe-rience, I don’t believe so.

Should we be concerned about SPL at concerts?I believe we should be concerned

about SPL levels at airports, car races and shooting ranges. We should be concerned with the speed and G-forces of roller coasters and the volume levels of scream-ing fans at sporting events. We should be concerned about the wind pressures on our ears while riding a motorcycle or driving on the freeway in a convertible.

I also believe that the effects of pro-longed exposure to high SPL levels and pressure change when flying in commer-cial airplanes are under rated, and fur-ther believe that the sound pressures on our ears in nearly all situations pale in comparison to the pressures and dangers to our ears while scuba diving. And I believe that when attending a rock con-cert, people should be aware and con-cerned about SPL as they should be in all of the above situations, because the same rules apply.

Being aware of auditory exposure is wise and the thought of municipalities purely focusing on rock concerts is con-cerning, especially since hearing protection is such a simple and inexpensive choice. When it’s cold, we put on a jacket, when it’s sunny, we apply sunscreen, and when it’s raining, we use an umbrella. If we get on a commercial jet, go to the drag races, or attend a rock show, if it’s too loud for our desired preference or personal expo-sure level, put in ear plugs. No biggie.

Why do you think so much focus is put on SPL at concerts versus other events and attractions?That’s a good question. It’s weird to me – why is there not a big focus on SPL at drag races or NASCAR? Ever been? Now that’s loud! And just this past NFL season there was a “loudest stadium” competi-

Talking sound levels with Dave Rat.

by Keith Clark

Dave Rat with a giant motherboard encountered on one of his many journeys.

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:: Perspective ::

tion with fans screaming their heads off in pursuit of “bragging rights,” with at least one stadium measured at more than 135 dB. Wouldn’t it make sense to focus on reducing those levels?

I believe the focus on concerts is based on several factors. Remember Beatlema-nia? Well, I don’t directly but I’ve read quite a bit about all of the concerns about those “long hairs” playing music. It may be a stretch, but to me it seems that in every generation the older and more conservative humans have a bias against the younger generations gathering in groups. Perhaps this is one of the reasons that volumes at rock concerts are a concern while volumes at sporting events seem to be a non-issue.

Do you think there will be government action in the U.S. regarding SPL at concerts? If so, any ideas as to what that may be?I hope not. And if they do take action, I would hope that it is not hypocritical and biased. First they should ban scuba diving and put mufflers on dragsters. Next they should ban skiing and tennis because it’s a well-known fact that tennis players can get tennis elbow and skiers sustain knee inju-ries. Brain aneurisms occur on roller coast-ers so they should enforce speed limits on amusement rides. I guess the question is whether protecting humans from rock concert volumes should be viewed in the same light as helmet laws or in the light of letting people make their own decisions about their bodies – though clearly rock concert volumes present negligible danger when compared to head injuries.

If the government were to take action, the only thing that makes any sense is to mandate that free earplugs be available at all concerts. To wear or not wear them would be up to the individual or up to the parent to determine. I think being prepared for predictable situations is obvious, so anyone attending a rock concert should probably bring ear plugs just as someone heading out into cold weather should probably bring a coat.

It’s also important to point out that volume regulations seem to fall into two

categories. First there is the government trying to protect people from damaging their bodies by passing laws, and sec-ond, there are local ordinances passed that limit volumes to protect property values and reduce disturbing nearby homes and businesses.

Do you wear hearing protection when working shows? Do you get your hear-ing tested on a regular basis? I rarely attend concerts that I’m not work-ing anymore, but when I do I either bring ear plugs or fashion some homemade ver-sion with paper and water. (They work really well!) When mixing shows on tour I tend to set up the first three songs without ear plugs and then put in plugs for most of the show, removing them occasionally to make sure the mix does not drift from the desired tonal balance. When I’m just doing a show every once in a while, I don’t worry about plugs as much.

I occasionally get my hearing tested. I’ve had massive high-volume exposure over the past three decades and do have some loss, but nothing excessive and it’s hard to determine what is exposure related versus age related. I’m more con-cerned with making sure that any off-set in my hearing does not show up in the tonal balance of my mixes. My ears

are holding up much better than other parts of my humanly self – the separated shoulder, broken shoulder blade, broken collar bone, damage I’ve done to my lower back, and sinus issues from surf-ing are of much greater concern.

Tell us about your experiences with “SPL police” while on tour overseas.I tend more toward heightening aware-ness than forcing things upon people. I’ve mixed probably hundreds of festivals and shows with SPL limits over the years, the majority of them in Europe/UK. I actually don’t mind a reasonable SPL limitation being enforced. My experi-ence has been that rarely do I exceed the limits, and also, I sort of enjoy figuring out ways to circumvent the limits when they’re overly restrictive. With a few exceptions my experiences with the SPL police are usually positive. I make a point of introducing myself to the officials and asking questions to determine what pres-sures have inspired the venue/promoter to incur the expense of implementing SPL level monitoring, as well as to try to clearly understand the maximum limits and time frames.

In my experience, the overly restric-tive SPL limits tend to be the result of either nearby residents and/or businesses


being disturbed while the government enforced limits are either reasonable or so poorly crafted that they are ineffective. If there are volume restriction rules that are venue-based due to off-site noise, I fully understand, and as long as the parameters are clear, then each artist has the option to play or not play that venue. And if they do play that venue, then working within the restrictions is part of the adventure. All good.

Do you have strategies for containing levels at venues where it’s mandated by local law/ordinance? I deal with each situation independently. My experience has been that many of the attempts to regulate SPL are awkward, misguided, and flawed. One reason is that laws and ordinances just love to use A-weighted measurements, as it cuts out wind noise and focuses on the most sen-sitive part of human hearing. While this makes sense for protecting humans from exposure to high volumes, it seems that many of the ordinances are driven pri-marily by neighboring residents attempt-ing to reduce a concert’s “thump thump thump” in their homes.

So the issue affecting the community that pressed for the laws/limitations is actually low-frequency energy that travels longer distances and is mostly ignored by A-weighted measurements. Even if the somewhat more applicable C-weighted measurements are used but measured from the mix position, there is so much flexibility that the mix could be very bass heavy or very bright and still result in the same SPL measurement.

It’s only when the monitoring entity has narrowed down the specific fre-quency ranges that create complaints, combined with implementing measure-ment devices in relevant locations, that we can begin to gain true control over the issues. Unfortunately that could also mean that weather conditions and other factors can introduce variables that pre-vent a repeatable SPL restriction inside the venue from being established.

So just to be safe, the solution can often be to set a very low maximum SPL, which brings us back to wondering if we’ve lost track of the whole reason for the concert in the first place: for people to gather together and share an immer-sive and memorable experience.

As far as actual hands-on strategies, I have a bunch, ranging from polarity reversing the subs on one side to reduce low-end in the middle where the mea-

surement mic is usually located, to get-ting the highest level VIP I can find to stand in front of the mic. Convincing production to spring for a nice bottle of wine and sharing it with the noise police actually worked really well at a stadium gig in Italy several years ago. n

KEITH CLARK is editor-in-chief of Live Sound International and ProSoundWeb.

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�� WE HAVE A BIG JOB with a small budget. One loudspeaker. How hard could it be? The goal is straightforward: uniform coverage over the seating area, i.e., minimum variance over the space.

There are four answers required for our specification: horizontal and verti-cal aim, horizontal and vertical coverage. We seek to match the loudspeaker cov-erage shape to the audience shape. The audience shape is visible. Loudspeaker coverage, not so much. Let’s work on defining the loudspeaker shape in terms of uniformity over the space.

STANDARD LINES OF VARIANCEThe propagation of a single loudspeaker can be described by four standard lines of variance (Figure 1) in each plane:

� Forward variance line – between 0 dB and -6 dB in a forward direction

� Radial variance line – between 0 dB and -6 dB on an equidistant radius

� Lateral variance line – between 0 dB and -6 dB on a straight line perpendicular to the loudspeaker

� Minimum variance line – between 0 dB and 0 dB in a forward, radial or lateral direction

The forward radial and lateral vari-

ance lines are all maximum acceptable variance lines (0 dB to -6 dB). The minimum variance line for a single loud-speaker is derived by linking the location milestones: ONAXFAR (the -6 dB end of the forward line) and OFFAXNEAR (the -6 dB end of the radial/lateral line). The key is that both ends of the line are the same, hence minimum variance.

It’s tempting to think of the horizontal and vertical planes as simply two versions of the same story. Our approach to cov-erage belies the fact that these are vastly

different from our perspective. The key difference is how we reach the people.

In the horizontal plane we plow the coverage through the front rows to the back. The path of propagation flows over the shape and it matters whether or not our coverage shape matches the room shape. We need wide enough coverage to fill the width at the front row and yet we don’t want to overflow when we reach the rear.

By contrast, the vertical plane is only one person deep (lap child excepted). It doesn’t matter if our coverage is too narrow a few meters above the audience, just as it doesn’t matter if we have excess overlap when the lines of coverage hit the basement. We evaluate the room shapes in fundamentally different ways, and will use the different versions of the loud-

speaker shapes as required to fill them.

HORIZONTAL ROOM SHAPEThe horizontal room shape is evaluated as a solid, a container to fill. We design to the audience seating plan (not the walls). The macro shape is depth by width: the distance from the loudspeaker to the last seat versus audience width at the midpoint depth. The loudspeaker’s coverage shape seeks to approach this dimensional ratio.

A rectangle shape is the easiest to evaluate since the beginning, middle and ending width are the same. A splayed room (trapezoid) uses the mid-point width, as would other variations around the basic rectangle. A narrow fan-shaped room can be approached this way, but a wide fan can’t easily be characterized as

Figure 1: Standard lines of variance.

Figure 2: Vertical aim and coverage calculations.

TECHTOPIC The factors involved in attaining uniform coverage.

by Bob McCarthy

Horizontal & Vertical

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:: Tech Topic ::


having a mid-point width. If a fan shape resists rectangular approximation then it is probably a bad candidate for a single loudspeaker (a helpful correlation).

VERTICAL ROOM SHAPEThe vertical room shape is evaluated as the head height coverage line from the front row to the last seat. The shape is evaluated as angular spread (from top seat to bottom seat in degrees) and range ratio (the difference in distance from top seat to bottom seat). If the shape is too complex to be evaluated like this then a single loudspeaker is a bad choice.

HORIZONTAL AIMThe horizontal aim target is defined as the middle/middle (middle seat at the mid-

point depth). If the loudspeaker is cen-tered on the shape, then the aim point is obviously along the front/back center line. If the loudspeaker is not centered, then the asymmetry is best balanced by aiming through the midpoint center. For every inch we move off center, we must pan the loudspeaker inward to cross the mid-point depth. This assures equal distribution of the over and/or under coverage.

VERTICAL AIMThe vertical aim is found by the range compensated coverage method (Figure 2). Consider the vertical bottom (VBOT) of coverage to be 0 degrees (relative). Our example coverage target is 50 degrees, so the range is from 0 degrees at the verti-cal bottom (VBOT) to 50 degrees at the

vertical top (VTOP), with a midpoint of 25 degrees (ONAX). If the range ratio from VTOP to VBOT is 1:1 (0 dB) then the aim point is the vertical center of the coverage line: 25 degrees.

As range ratio rises, the aim point gradually moves upward toward the far-thest point. A range ratio of 1.4 (3 dB) moves the aim point upward by a factor of 1.4 (+40 percent) to 35 degrees (10 degrees above the original aim). Increas-ing the ratio further raises the aim until the 2:1 limit is reached, and the loud-speaker is aiming at 50 degrees (VTOP).

HORIZONTAL COVERAGE ANGLE There are three logical points to evaluate coverage: start, middle and end (Figure 3). If we use the start, our loudspeaker

Figure 3: Horizontal aim and coverage example (2:1 depth/width, 60 degrees, variable location).

Figure 4: Vertical aim and coverage example (50-degree spread, variable range ratio).

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:: Tech Topic ::

covers the front fully but is too wide for every row beyond. We may drown in reflections as coverage overflows to the side walls.

The opposite extreme is the rear width as reference. We have just enough coverage across the back (6 dB variance) and not enough anywhere else. Reflec-tions are minimized, but tell that to the half of the audience that has no coverage.

Using the mid-point width as the refer-ence evens out the errors. The result is 6 dB of level variance across the midpoint depth. If the shape is a simple rectangle then the front half will be under-covered and back half over-covered in equal proportion.

Reflection risk rises in the rear while coverage gap risk rises in front. The gaps in the front corners can be reduced if the loudspeaker is raised in the vertical plane (which expands the effective coverage width). Alternatively we can beg for fill

loudspeakers to plug the gaps. Both the underage and overage errors are reduced if the room has expanding splay walls.

VERTICAL COVERAGE ANGLEThe vertical aim was determined above and we will reuse the 50-degree coverage shape example (Figure 4). The minimum vari-ance coverage angle is found by range ratio multiplication of the target angular spread.

If the ratio is 1:1, then the loud-speaker coverage angle equals the target angle: 50 degrees. The ONAX location will be 0 dB and the VTOP and VBOT locations will each be –6 dB. A wider loudspeaker will reduce the level vari-ance, which can be weighed against the potential for increased reflections.

A range ratio of 1.4 (3 dB) moves the minimum coverage angle upward by a factor of 1.4 (+40 percent) to 71 degrees. Recall that the loudspeaker is now aimed

above the vertical midpoint; therefore we need a wider loudspeaker to reach the bottom. The loudspeaker coverage angle rises proportionally with range ratio until the limit is reached at 2:1, and we have a 100-degree loudspeaker (a 2:1 ratio of the original 50-degree loudspeaker cov-erage) aiming at the top row.

ONAX is now at VTOP and both are -6 dB. VBOT is also -6 dB. Level variance is minimized while risk of reflections is maximized. If the reflections are too great then a single loudspeaker approach should be abandoned in favor of an array. n

BOB MCCARTHY has been designing and tuning sound systems for over 30 years. His book Sound Systems: Design and Optimization is available at Focal Press (www.focalpress.com). He lives in NYC and is the director of system opti-mization for Meyer Sound.


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MOVING AIR

reinforcement usually operate around 30 to 120 Hz, with 80 to 100 Hz being common crossover points. They can be passive, fed by external amplifiers and processors, or active, with onboard amplification and processing.

Smaller systems may send the subs the same main output feed as the full-range mains, while larger setups might receive content only from the instruments with LF content like kick drum, bass guitar or even a bass vocalist, usually sent via an aux send on the console. This can help clean up “muddy” sounding low end because it eliminates the open microphones on stage sending signals to the subs that can be out of phase with each other.

There are several different types of subs, with each design being a trade-off between bandwidth, efficiency, portabil-ity and cost. Designs can utilize single or multiple transducers, almost always cone drivers arranged in a variety of configurations, including:

Sealed/Acoustic Suspension. The driver(s) are mounted in a sealed cabi-net. While the transient response of this design is good, it’s less power efficient compared to vented enclosures and can be lacking when reproducing very low

TODAY’S MUSIC AND SPECIAL effects (like explosions in motion picture soundtracks) include a lot of low-fre-quency content. While larger full-range loudspeakers may have a wide frequency range, it takes subwoofers to really repro-duce low end with impact, especially for bass-heavy music like electronic dance (EDM) and reggae. Deployment of main loudspeakers is usually a relatively straightforward matter, but locating and configuring subs presents numerous options and can be a bit of a challenge. Let’s start with the basics.

Subwoofers are specialized cabinets that reproduce the extreme low end of the frequency range. Studio and home theater models may operate in the range of 20 to 250 Hz, while subs for sound

frequencies, especially at high volume levels. One notable exception is a spe-cific design that utilizes a proprietary electronic processing control system for solid reproduction at extreme low fre-quencies (under 20 Hz).

Bass-Reflex/Ported/Vented. The most common type in live audio, a bass-reflex design has the driver(s) mounted into a box chamber that also houses one or more vent opening(s). The vent (a.k.a., port) is of a specific size and length to allow sound emanat-ing from the rear of the driver to exit the enclosure, with the driver(s) and porting combining to provide a specific response characteristic. The advantages of bass-reflex over a sealed design are many, including extended LF response, increased power handling and increased output. However, these advantages come at the cost of larger enclosure size and weight and slower transient response, along with the possibility of needing additional high-pass filtering slightly below the sub’s tuning frequency to avoid over-excursion of the driver(s), which can cause damage at high levels.

Bandpass. This approach places one or more driver(s) in a tuned chamber that can be sealed or vented, with the front of the driver(s) playing into a sec-

Inside subwoofer designs and configurations.

by Craig Leerman

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Schematics of the LAB Sub, a horn-loaded design developed by the PSW Live Audio Board community.


ond tuned vented chamber before exit-ing the box. By passing sound through tuned ports, the design limits the band-width that the system can reproduce, resulting in increased output within a specific frequency range, along with a reduction of upper harmonics. The downside is that placing a second tuned chamber in front of the driver results in a larger enclosure.

Horn Loaded. As the name implies, the driver(s) are located in a sealed (or sometimes vented) chamber whose out-put is channeled out via a horn. Horns can increase the output of the driver(s) and also can improve directionality, depending on the length and mouth area of the horn (the part that meets the outside air). Because low frequen-cies require a large horn, designers typi-cally bend, fold or curve the horn in the enclosure, resulting in a more manage-able sized cabinet. While horn-loaded designs offer an increase in gain over a bass-reflex design, they sometimes don’t reproduce the lowest frequencies very well because a substantially sized horn is required to handle those long wave-lengths. However, they can be stacked in groups for additional LF extension. The large size and weight of these enclosures usually limit their use to larger events.

Tapped Horn. A driver is placed in the mouth of a horn, with one side firing into the horn and the other side firing into the mouth of the horn. This mounting location reduces the amount of driver excursion required in comparison to a driver located in a sealed chamber at the back of a horn, with the result being lower distortion and greater output.

Cardioid. This approach deliv-ers more output from the front of the box and less from the rear. It’s usually accomplished by adding drivers to the rear of an enclosure and changing their phase relationship and/or their output arrival time in relation to the front driv-ers, helping cancel out the sound waves

to the rear. Cardioid designs focus LF energy on the audience while reducing unwanted reflections and noise on stage. These benefits come at the cost of larger and heavier subs, and additional ampli-fication and processing are also required if they’re passive cabinets. However, the results can be very good, particular in problematic acoustical environments.

Hybrid. These utilize a combination of approaches inside a single enclosure. For example, one configuration I recently ran across has two drivers sharing a com-mon vented chamber. One driver’s fron-tal radiation is direct, while the second driver is set at 90 degrees and radiates into a second vented chamber. Another

take is a cardioid passive dual-transducer configuration with an 18-inch driver in a bass-reflex configuration and a 15-inch driver feeding a folded horn.

THE NATURE OF WAVESBefore we look at various ways to deploy subwoofers, we need to spend a little time on sound waves. Sound is a pressure wave through a medium like air or water. At sea level in dry air at 75 degrees (Fahren-heit), the speed of sound is approximately 775 miles per hour (1136.6 feet per sec-ond). Humans can hear these vibrations if they’re in the frequency range of our hear-ing, usually considered between 20 Hz to 20 kHz. The wavelengths (one cycle of a tone or pitch) for bass frequencies are longer than higher pitched frequencies. Because subwoofers operate in a general frequency range of 30 to 110 Hz, it means we’re dealing with wavelengths of about 10 feet to about 35 feet long. Long wave-lengths aren’t usually affected by slender items in their path, like a support column in a building, unlike smaller high-fre-quency wavelengths that can be redirected and reflected off even small obstructions.

Anything within one-quarter (1/4) of the wavelength in distance can affect the output, including floors and walls

A variety of cardioid configurations.

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A common end-fire configuration.


:: Spotlight ::

(a.k.a., boundaries), as well as additional subs stacked next to each other. Most subs radiate energy in an omnidirec-tional pattern, as shown in Figure 1.

If we suspend a sub above the ground, its output emanates in all directions, and if it’s more than 8.75 feet away from any surface (a one-quarter wavelength of 30 Hz or 35 feet), it does not get any gain in output from a boundary. Place the sub on the floor (called half-space loading) and there’s an additional (theoretical) 3 dB of output because the energy that would have traveled down is now reflected up from the floor. Placing it on the floor next to a wall (quarter-space loading) adds 6 dB more output, and moving it to a corner (eighth-space loading) adds 9 dB. (While this looks great on paper, in the real world the numbers won’t be that high because of interference from the boundary and the acoustic space.)

Now, place the sub one-quarter wavelength from a rigid wall, and it’s output will bounce off the wall and return to the sub, making it about one-half wavelength, with the phase about 180 degrees from the original signal. This results in destructive cancellation. Depending on distance from a boundary and the pitch of the signal, frequency response is affected.

A common phenomenon is a bass

“power alley” where LF output is strong between left and right stacks because the output from each sub combines to add power. However, as you move off center, phase and time delay issues cause cancelations. This effect is most pronounced outdoors where walls and ceilings are not adding reflections and destructive cancelations. INTERESTING ARRANGEMENTSLet’s move on to a variety of ways to deploy subs. Prediction software can be very helpful in this regard, allow-ing us to model various configura-

tions as well as see the impact of things such as signal delay and high-and low-pass filtering. The plots we’re presenting here were done with the Subwoofer Array Designer Calculator (www.merlijnvan-veen.nl ) by the software designer himself, Merlijn van Veen. (Thanks Merlijn!)

Single. Placed in a convenient spot, output will only be affected by the room and not other subs. A corner location can be better as it affords a boost in out-put. A downside is lack of pattern con-trol, with the possibility of too much LF energy on stage and/or in other areas.

Multiples. This will “move more air” than a single sub, but stacking or lining up the enclosures will effect the pat-tern because the group produces longer than a one-quarter wavelength, which in turn will narrow the coverage pattern. Placing them near a wall or corner will additionally alter the pattern.

Left/Right (Ground). In Figure 2 we see the result of an L/R placement at 40 Hz. The power alley is clearly in evi-dence, and also note that on each side of the power alley, there are power valleys or null zones where destructive interfer-ence has reduced the output level. Com-pare this to Figure 3, which shows the same configuration at 80 Hz. Note the destructive interference has resulting in multiple null zones in the output.

Subs can be flown behind arrays with-out impact-ing their performance.

Figure 1 Figure 2

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What will you say when you hear it?


:: Spotlight ::

Left/Right (Flown). Particularly pop-ular at larger events, subs can fly above a loudspeaker array, as a part of a horizontal array, next to an array, and behind an array. The behind configuration minimizes the overall width of the loudspeaker hangs and doesn’t intrude on audience sight-lines. Flown subs can be configured in directional arrays as well as be joined by additional subs on the ground.

Vertical Array. Subs stacked vertically (usually flown beside or behind an array) will develop some vertical pattern control, with the length of the array determining how much. Longer = greater control.

Center (Ground & Flown). A center

location with one or more subs can be ideal for providing a smoother coverage pattern over an L/R placement, but this method may result in putting too much bass back onto the stage unless cardioid cabinets or configurations are imple-mented. Center flown subwoofer arrays are popular for installs, especially in the-aters, but not so much for live events.

Horizontal. This arrangement places loudspeakers next to each other (or with small intervals between boxes) in a row, usually across the front of the stage. The effect of using a large line of cabinets will narrow the horizontal pattern, but unless the array is made up of cardioid cabinets,

the stage will still be awash in low fre-quencies. Curving the array instead of placing the cabinets in a straight array can offer more constant directivity. Fig-ure 4 shows a horizontal array at 40 Hz, while Figure 5 shows the same configu-ration using cardioid cabinets.

Distributed/Delay. Uses multiple subs in various locations (such as hidden beneath a runway stage along its length), and may employ time delay to achieve a coherent arrival time at various audience locations. This approach is popular for corporate-type events where a large stack or wall of subs is not desired for aesthetic reasons, while a number of subs spaced

Figure 3

Figure 5

Figure 4

Figure 6


apart down the walls, fl own, or hidden under a stage is better received by event planners. Distributed-type systems can also be found installed in venues where a single subwoofer placement would not cover the intended audience area.

MAKING IT DIRECTIONALAs previously noted, a primary goal is keeping excessive LF energy out of areas where we don’t wish it to be. With select placement/arrangement of subs and the application of processing such as signal delay, various radiation patterns can be attained. Some of the more popular directional array techniques include:

Delay Shaded Array. This reduces the output of the boxes at or near the ends of an array (like a horizontal array), with the intent to make the coverage pattern more regular and less frequency dependent.

Cardioid Array. Two popular cardioid approaches are stacking and side by side. Stacking places the boxes on top of each other, with one cabinet (usually the mid-dle cabinet in a stack of three) reversed to point to the rear. Side by side places the boxes next to each other and reverses one (again normally the middle one of three). Further pattern control can be attained by applying delay, either by delaying the output of the front-facing cabinets to arrive at the same time as the output of the rear-facing cabinet, or by delaying the rear-facing cabinet to the output of the front-facing cabinets while also reversing the polarity of the rear-facing cabinet so that it’s signal is 180 degrees out of phase with the front-facing cabinets.

End Fire Array. Multiple cabinets are aligned in a row, arranged one in front of the other with all pointing forward. All cabinets are delayed in relation to the rear-most cabinet. This approach makes it possible to project powerful, directional bass over long distances. Figure 6 shows how an end fi re array provides very good pattern control at 80 Hz.

Obviously, there’s a lot to discuss

when it comes to subwoofers, and what I’ve presented here is intended as a primer, really just scratching the surface. I recommend further research to enhance your understanding – for example, Pro-SoundWeb offers dozens of articles on subwoofers and related topics, while the LAB Subwoofer Forum on PSW is an excellent resource for both information

and getting questions answered. It’s well worth your time, as delivering LF energy with maximum impact and control is one of the defining factors of a successful sound reinforcement experience. ■

Senior contributing editor Craig Leer-man is the owner of Tech Works, a pro-duction company based in Las Vegas.

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PERCEPTION IS REALITY

�� WE’VE ALL BEEN TO A SHOW that was uncomfortably loud – piercing, yet unintelligible. The upper end of the mix is crowded, harsh and honestly, painful. After only a few minutes of listening, ear fatigue sets in. You want to leave, but that nagging $40 concert ticket compels you to stay. Then there’s the opposite experience, a great performance paired with a beautiful mix that’s both huge and enveloping.

While I’ve experienced far too many shows in the first cat-egory and not enough in the second, I’ve yet to see a com-mon link between an overly-loud sounding show and the age, experience, or career success of the front of house engineer. Whether it’s the result of hearing damage, poor practices, pres-sure from band management, or some combination thereof, one thing is certain – audience members pay the price.

Audio professionals have a responsibility to deliver a per-formance to the listener without compromising the quality of the show. The problem, however, is that many engineers and technicians, if asked, would be unsure of what it is exactly that they’re shooting for, let alone how to get there. So let’s connect some dots between what we’ve experienced in the field and what we know to hopefully start laying some foundational knowledge.

NOT LINEAR IN RESPONSEIn order to understand what to avoid in terms of both mix-ing approaches and system equalization, it’s important to first understand why we hear music the way that we do.

In 1933, two physicists from Bell Labs, Harvey Fletcher and Wilden A. Munson, published a paper titled Loudness, Its Definition, Measurement, and Calculation where they revealed a groundbreaking discovery: the human ear is not linear in its response – that is, it is incapable of hearing all frequencies evenly.

The discovery was the result of a series of tests where sub-jects would listen to a 1 kHz tone through a pair of head-phones, followed by a 2 kHz tone, with subjects then asked to determine if the second tone was louder or softer than the first. This process continued up and down the audible spectrum, each time against 1 kHz as a reference level. The resulting curve, taken from an average of the responses, became known

Psychoacoustics from an audio engineer’s perspective.

by Todd Hartmann

Equal-Loudness Contours compared to the Fletcher-Munson curves.

INFOCUS

as the Fletcher-Munson curve. The tests conducted were not without flaws, and in addition

to the limitations of testing equipment in the early 1930s (such as poor low-frequency reproduction), many participants had traveled by train and were exposed to varying levels of environ-mental noise only minutes before the test. In recent years, the ISO re-created the test with greater accuracy and published the revisions, which are now called “Equal Loudness Contours.”

The experiment yielded another important finding: the curve changes as the listening volume increased. At the thresh-old of hearing (around 10 Phons), we are eight times as sen-sitive to frequencies in the 1 kHz range as we are to those around 100 Hz. However, at 100 dB SPL, the curve flattens considerably, and the difference is only about twice the sensi-tivity. This means that we hear frequencies the most evenly at higher levels, and as a result, music sounds more “full.”

At this point, you might be asking why in the world our hearing response would have such a strange shape, not to men-tion the dynamic flattening effect at higher listening levels. The answer lies within the construction of the ear, which in itself is a brilliant piece of architecture. Most of us at some point have taken a high school health class where we learned the basic com-ponents and divisions of the ear – ear canal, eardrum, hammer/anvil, cochlea – but let’s take a look at it from an audio engineer’s perspective, and things will begin to make a little more sense.

OUTER EARAcoustic waves enter via the ear canal, which is effectively a tube resonator. This reverb is so short that it is perceived as EQ, adding a hefty bump (up to 20 dB) in our hearing response in

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:: Perception Is Reality ::

the 2 kHz to 6 kHz range. As sound travels toward the end of the auditory canal, it excites the tympanic membrane (eardrum). This naturally occurring transducer converts acoustical pressure into mechanical energy. The Eustachian Tube acts as a port to prevent backpressure from building up behind the eardrum.

At this point, we also find our first stage of compression/limiting – the tensor tympani, a muscle connected to the tym-panic membrane, dampens the transducer during high-level vibrations. This primary stage of compression makes up the first part of what audiologists refer to as the acoustic reflex, which we’ll jump back into a little later.

MIDDLE EARAs sound waves (now in the form of mechanical pressure) exit the eardrum, they pass through the malleus and incus, also known as the hammer and anvil. The primary purpose of these small bones, referred to as the ossicles, is to convert mechani-cal energy into pressure variations in the cochlear fluid. This is a difficult task, to be sure, since we know that liquids have a much higher input impedance than air.

To accomplish the necessary impedance matching, the ossicles act as a complex series of levers to convert low-pressure variations across a wide area (eardrum) into high-pressure variations across a small area at the stapes, where the ossicles connect to the cochlea. The result is roughly 30 dB of gain compensation, ensuring that sound is delivered to the inner ear at a useable level.

The second stage of compression/limiting in our “acoustic reflex system” consists of the stapedius, a small muscle that stabilizes the ossicles during high SPL movements. Due to the stiffening action of the stapedius, which only limits larger (lower frequency) displacements, this limiting is only effective

for frequencies below 2 kHz. The “threshold” for these two compressors can be anywhere

between 70 and 105 dB SPL, and the “attack” or reaction time can range between 10 and 100 ms. Together, the acoustic reflex system is capable of withstanding SPL of up to 140 dB – the equivalent of a compression ratio of 100 trillion to one.

INNER EARAt the end of the ossicular chain we find the stapes, often referred to as the “footplate” or “stirrup” of the cochlea, which acts as a piston driving the fluid inside its two outer cham-bers back and forth. Sound waves travel down the length of the upper chamber toward its apex, then turn around and travel back down the lower chamber toward the base. The vibration transfers energy to the fluid-filled scala media (middle chamber), which actually contains the “A/D converters” of the signal chain.

Resting along the floor of this chamber is the organ of corti, containing roughly 25,000 hair cells, as well as the tectorial membrane, which covers the hair cells like a flap. The tecto-rial membrane is specifically “tuned” to resonate at different frequencies down its length – wide and flexible at the apex for lower frequency response, and narrow and stiff at the base for higher frequencies. The hair cells also vary in size and rigidity according to the frequencies they are dedicated to.

This is where things start to get crazy. As vibrations in the fluid set the tectorial membrane into motion, the outer rows of hair cells (usually three) respond to the vibrations and transmit the information to the auditory nerves. However, the inner row of hair cells has an entirely different role: they reach up and dampen the tectorial membrane during high levels. Because the hair cells are divided up into 32 frequency-specific bands, the inner cells actu-ally function as a 32-band compressor (our third stage) to protect the outer cells during high levels in a specific range.

PRACTICALLY SPEAKINGIf you’ve read this far, you have observed multiple stages of EQ and compression within our hearing system, all leading to an anything but linear frequency response. The point of all of this is simple: the human ear is specifically and brilliantly designed for intelligibility of oral communication. If you were to look at the spectral density of the human voice, you’ll notice that the strongest boosts are located around the consonants in human speech (2 kHz to 6 kHz), with little need for anything in the upper and lower ranges – which explains our poor response in those areas.

As audio engineers and technicians, the takeaway for us is pretty clear: in order for us to hear music evenly, some ranges must be compensated for. While it may seem logical at this point to assume that a system EQ (or mix, for that matter) resembling the inverse of our hearing curve would be an easy

Cross-section of the cochlea revealing the basilar membrane and organ of corti.

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:: Perception Is Reality ::

solution, a listening test will quickly cause you to change your mind. As is true with approaching any complex problem, we must always be hesitant to arrive at any simple, blanket solu-tions. However, we can reasonably conclude a few things based on what we’ve learned.

First, it’s important to realize that a “flat” system response may not always sound good. Because we live with the non-linearities of our hearing response curve, we don’t notice them, but rather interpret them as “normal.” However, a tuned system response that is truly flat will quickly reveal the peaks in our hearing curve, and result in a harsh, warmth-lacking interpre-tation of the musical content.

Second, we must recognize that because the poor HF response of our hearing is interpreted as normal, most attempts to compensate in this range will sound overly “tingy,” “airy” or “sizzly.” While many instruments contain upper harmonics in the 8 kHz to 12 kHz range, we naturally hear these frequen-cies at much lower levels through our nonlinear response, and therefore interpret higher levels in this range as unnatural.

Third, because many of the upper-mid harmonics in electric guitars, pianos, B3 organs, and cymbals all reside in the 2 kHz to 5 kHz range (an area we are already hyper-sensitive to), we

should be wary of this area becoming overly saturated. When we combine this with the fact that most vocal microphones have a generous boost in this range, it can quickly become a dangerously harsh area of the mix. Often, small EQ dips in the individual channels, system EQ, or both may be necessary to prevent this buildup.

A PERSONAL APPROACHOver years of tuning live audio systems, I’ve consistently gravitated toward a response that gently slopes downward from the lower end of the spectrum, allowing even sub-bass reproduction consistent with our hearing curves, then gradu-ally flattens from 100 Hz to 400 Hz or so. The midrange remains flat for the most part, while the high end may drop off slightly, depending on the PA I’m working with. I typi-cally reference a couple of tracks that have a decent amount of 2 kHz to 5 kHz content to make sure those ranges don’t become unpleasant.

I’ve found that running an RTA with a long average (7 to 10 seconds) can be an extremely helpful tool when mixing. On songs when the band is going full-tilt, I’ve often observed that the mix feels the most balanced, enveloping, and defined when the spectral density of my mix is a consistent slope averaging at roughly -3 dB per octave. It can also be handy to help “drive between the lines” when I’ve been mixing for a few hours and my ears are tired, or when the mix position is in a spot where I can’t hear the PA as well as I’d like.

While understanding the “how-tos” of building a powerful, balanced mix is no small undertaking, applying a solid foun-dational knowledge of basic psychoacoustics is a bedrock. In a way, it’s almost like getting a peek at the other team’s playbook, and can help us avoid some of the more common mistakes in live mixing. n

TODD HARTMANN is the audio engineering coordinator for The Austin Stone Community Church as well as a long-time free-lance audio engineer. The author also thanks Dr. Michael Santucci of Sensaphonics and Benj S. Kanters of Columbia College in Chicago for their collaboration and support with this article.

Illustration of the flattening of the hearing curve at 80 dB (above) and 100 dB.

Frequency response of a full mix (red) compared to the response of the EQ’d system (green), illustrating sufficient weighting in the lower frequency ranges.

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SILENCE CAN BE GOLDEN

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building process. What starts as a bank of muted channels ends as 18 (or more) live audio channels. Color upon color is added to the base, and eventually, it’s regarded as fi nished.

But is the mix the desired color? We do ourselves a disservice by assuming it’s right – time to pull out the metaphorical stick and hair dryer in examining an audio mix for what it is and what it should be.

INDIVIDUAL PURSUITSNot hearing can be good. Through muting an instrument or singer, the mind of a good sound tech can imagine what he wants to hear once the channel is un-muted. This gives the brain the opportunity to compare “what should be” against “what ya got.”

Mute mixing, for lack of a better phrase, enables volume problems to be fi xed, EQ oddities to be corrected, and the overall mix to be improved. This process happens in two ways: channel-level muting and group-level muting. Let’s start with single-channel muting.

Volume balancing is an integral part of mixing, and by muting a channel it’s easy to evaluate the volume level. Start by listening to the whole music mix.

IN HIGH SCHOOL, I held a stressful job: paint mixer at the local hardware store. The equipment looked like it was from Dr. Frankenstein’s lab – and I was Igor. One extra drop of dye could turn Orange Ruffy into Tangerine Dream, and there was no going back.

I learned two valuable lessons from that job: don’t rush a delicate process, and always check your work. On that second point, after the new color was mixed, a small wooden stick was dipped into the paint and then blown dry with a hair dryer – if it matched the color swash, it was good.

Years later, I’m applying the same concepts to audio mixing. It’s truly a

Give it some time to sink in, and then mute a channel, such as rhythm guitar. Listen to the mix without that channel.

Next is the biggest step that has improved my mixes. Un-mute the chan-nel, and it will be instantly noticeable if the volume of the channel is too loud, too soft, or just right. Make the appro-priate adjustments and then move on to the next channel. This can be done for overall channel evaluation or fi xing spe-cifi c problem channels. For anyone new to mixing, defi nitely use this process for channel volume evaluation.

EQ correction via muting is similar to volume balance correction, with a twist. Imagine the electric guitar riff that starts the classic rock song Layla, where Eric Clapton’s riff has a very distinct sound. One could listen to fi ve alternate lead guitar mixes and still know which one was from the original recording. We know what sounds right for a song.

Enter muting for EQ correction. Listen to the overall mix, and then mute the problem channel, such as the electric guitar lead. While listening to the mix without the lead guitar, imagine how it should sound if it was present in the mix. Un-mute the guitar and decide if it meets the expectation or not. If it doesn’t, make the necessary EQ tweaks. (And sorry, getting a different guitarist isn’t an option.)

Muting also helps to identify the natural room volume of an instrument. This can be applied to drums, brass instruments, and any instrument using a stage amp. In the cases of drums and percussion, using groups makes this easy. Any sound emanating from the stage with enough volume can affect the house mix. In some cases, one discovers the stage volume is greater than what is sent through the house loudspeakers.

EVALUATING THE MANYMuting a full group of channels is equally benefi cial in assisting with vol-

The value of selective muting to the mix.

by Chris Huff

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ume and EQ work. Muting an indi-vidual channel might not be enough to help fix a problem. In some cases, the problem exists across channels. By pull-ing out a group of channels, the source of the problem can be found. Group muting enables focusing on larger areas of the mix such as low end, guitars, and backing vocals.

My standard console configuration includes five mix groups: guitars, vocals, piano/keyboards, drums, and low end (kick drum and bass). Pulling out the low end and the keys groups, one hears the primary sounds of guitars and vocals that drive most songs. Any time a guitar-centric mix isn’t coming together, drop all groups except the guitars and vocals. As long as those two sound good, the others can be reintroduced, one group at a time, to identify the problem area – usually it’s in the overall backing vocals or the over-all drum mix.

Drum group muting can work in two

different ways; it depends on the reason for the muting. Need to hear the differ-ence in the mix with and without the drums? Use a single group mute. Need to fix a problem within the drum mix? Use the group concept but apply it to the channel level as follows.

Start by muting all of the drum channels, leaving the group level un-muted. Listen to the mix without the drums. Next, introduce the kick and consider how it sits in the mix. Con-tinue through all of the drum kit pieces from the low-end kick up to the high-est-pitched tom and then the snare. Optionally, add the snare after the

kick and then work through the toms. Finally, add in the cymbals.

ADDITIONAL CONCEPTSAnother method for tweaking drums, rather than muting, is boosting the vol-ume of the kit piece, adjusting the EQ, then lowering it back to the proper vol-ume. The benefit of the mute method is allowing the brain to imagine what it wants to hear and then mixing to match that sound. Sound techs work-ing with the same band all of the time should have those sounds imprinted in their heads and can use either (or both) method(s). To them, I suggest giving the mute mix concept a try.

Muting groups also helps pinpoint a channel problem. For instance, a low-end frequency problem due to a bad keyboard EQ can be narrowed down to the keys by dropping out the low-end group containing the drums and bass. In this case, the low-end from the keyboard would stand out in the remaining mix.

The process of group-mute mixing enables one to identify a volume or EQ problem related to a group of channels. It also speeds up the investigation into a single channel-related problem by quickly eliminating many channels at once. Meanwhile, the process of channel-level mute mixing enables one to easily correct volume and EQ problems. It also leads to an overall mix improvement.

In contrast with mixing paint, audio mixing allows us to mix and re-mix as many colors as we want until we find the right combination. Dr. Frankenstein created a monster in his lab, but he did something far more interesting: he gave his creation life. I’ll let you draw the parallels. n

CHRIS HUFF is a long-time practitio-ner of church sound and writes at Behind The Mixer (www.behindthemixer.com), covering topics ranging from audio fun-damentals to dealing with musicians – and everything in between.

Audio mixing allows us to mix and re-mix as many colors as we want until we find the

right combination.

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Engineer Peter Keppler at a DiGiCo SD10 with Waves MultiRack visible on the screen.

PLUGGING IN

THE OTHER DAY DURING load-in for a production, I used something I’d not touched in more than a year: outboard gear. We were adding a small analog console as a sub-mixer for the installed system when I decided to place a graphic EQ inline to better wrangle any feedback issues from the choir and floor microphones.

It dawned on me how my tools have radically changed the last 10 years. Large-frame consoles with heavy power supplies accompanied by tons of outboard processing gear have largely been supplanted by smaller digital consoles with internal pro-cessing augmented with plug-ins.

While the first thing I look at in a digital console is routing ability, next up on my list is signal processing. Digital boards offer impressive sets of onboard processing – graphic and para-metric EQs, delays, multi-effects and so on – that replace racks of analog gear, and this capability can be even further enhanced via plug-ins.

Plug-ins, simply, are software. We use them on our computers with search engines and media players. Digital audio worksta-tions (DAWs) and their users were the first to really implement plug-ins in pro audio. These programs, designed primarily for recording and editing, provided a palette of processing options to bring to projects. Live audio practitioners soon took notice and have come to embrace plug-ins in their realm.

Audio plug-ins come in various types, including synthesis units that create sounds, sequencer or control units, and of

course, the ones live audio folks primarily use, signal process-ing and FX software. Plug-in software is painstakingly crafted to emulate the operation and results of vintage outboard gear, including graphical user interfaces (GUIs) that look like the faceplate of the original, or it can be a new creation offering a new take on a particular effect or processor. Some offer a single function like a specific EQ, while others incorporate a “suite” of effects (and corresponding features) to choose from.

Many providers also “bundle” groups of plug-ins together as a package. In addition, there are many free plug-ins available on the web. Some of these get very high reviews, while others... let’s just say the old adage “you get what you pay for” comes to mind. Waves Live and Avid are justifiably a very popular choice in live applications, offering hundreds of lauded plug-ins, and there are many other providers, such as McDSP, which recently released AE400 active EQ HD plug-in offering four overlapping bands and sidechain.

WORKING CONSIDERATIONSPlug-ins are available in a variety of formats, such as VST, AU, UAD, AAX, TDM, SawStudio/SAC, DirectX, TDM and MAS. The differences between some of these formats are con-siderable. For example, a certain format of instrument plug-in might support multiple MIDI input ports, whereas another format of instrument plug-in might not. So take care to check formats when selecting plug-ins for your specific gear.

Plug-ins run with Native or Server configurations. Native utilizes a computer’s CPU, so the number of plug-ins that can be run, as well as the overall system latency, is dependent upon the CPU and sound driver capabilities. Server configurations (such as Soundcraft’s new Realtime Rack) use a dedicated unit to power the plug-ins, enabling low latency and high plug-in counts without taxing a computer. And some Server units offer

The ever-growing processing stable provided by plug-ins.

by Craig Leerman

��

SHOWCASE

Some of the growing stable of Avid AAX plug-ins.

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:: Showcase ::

networking capabilities so that multiple consoles can access the processing.

Waves MultiRack is a software host that lets front of house and monitor engineers run multiple, simultaneous instances of Waves plug-ins. It provides four basic components: individual plug-ins, racks of plug-ins, snapshots that store plug-in and rack settings, and sessions that store the settings for all plug-ins, racks, and snapshots, as well as information about the setup design and signal flow.

MultiRack Native relies on a host computer to process the audio and uses an ASIO/Core Audio interface to connect to a console, while MultiRack SoundGrid uses an external DSP server to achieve low-latency performance and run multiple plug-ins in real time, working with select consoles. MultiRack Native works with consoles from virtually all of the major manufacturers, and further, DiGiGrid MGB/MGO interfaces let users plug any MADI-enabled console into the SoundGrid platform. This fosters recording, processing and playing back up to 128 audio channels, using hundreds of Waves plug-ins, with latency of only 0.8 milliseconds.

Most Yamaha Commercial Audio digital consoles can host WSG Y-16 I/O cards (up to four) in mini-YGDAI slots to incorporate MultiRack and SoundGrid, as can Allen & Heath iLive and GLD consoles via M-Waves I/O cards. Several Midas models, including the PRO Series also link to both via an MGB or MBO interface, while the SSL Live simply integrates via an MBO interface. And naturally, it also accom-modates SSL plug-ins.

Soundcraft Vi Series consoles can also utilize MultiRack and SoundGrid via an MBO interface, in addition to the previously noted Realtime Rack hardware/software package that integrates Universal Audio UAD plug-ins, along with others from Neve, Studer, Lexicon, Manley, and more. All DiGiCo SD Series con-soles accommodate SoundGrid with a Waves I/O card as well as MultiRack Native with an MGB I/0 interface. And just a

FireWire cable between computer and console is required for PreSonus StudioLive, Mackie Onyx and Behringer X32 Series models to interface directly with MultiRack Native.

Avid was one of the first console manufacturers (if not the first) to integrate plug-ins for live usage, a natural transition from the company’s tremendously popular Pro Tools DAW. All Avid consoles ship with a collection of plug-ins. VENUE consoles use the VENUE TDM format, while the new S3L console uses the AAX format that was introduced a few years and supports third-party plug-ins as well.

For example, McDSP has qualified all of its AAX plug-ins to operate on S3L systems, while earlier this year Avid expanded the AAX live sound platform further to offer choices from providers such as Crane Song and Sonnox. Waves also supports the AAX Native platform.

FIELD APPLICATIONSEngineers are increasingly utilizing plug-ins, and sound com-panies are working to support them. For example, Madrid, Spain-based Fluge has been steadily outfitting more of its con-soles with MultiRack and SoundGrid servers. Recent appli-

The new AE400 active EQ Native plug-in from McDSP.

Above, a basic Waves Soundgrid configuration, and below, a screenshot of Waves MultiRack Native.


:: Showcase ::

cations include consoles for the musicals Hoy No Me Puedo Levantar and Grease and for artist tours by Melendi (DiGiCo D5), Pablo Alborán (Avid D-Show), Alejandro Sanz (DiGiCo SD7), Dani (Yamaha CL5), and Violetta (DiGiCo SD5).

“In the past few years, we’ve been investing in Waves tools with the objective of having Waves plug-ins available for our range of Avid VENUE consoles,” notes Fluge technical direc-tor Raúl Méndez. “Now with SoundGrid technology and the ability to run Waves plug-ins in low latency with MultiRack on all consoles, we’ve decided to equip our stock of Yamaha and DiGiCo consoles with Waves tools as well.”

Front of house engineer Peter Keppler used SoundGrid with a DiGiCo SD10 console on David Byrne and St. Vin-cent’s 2012 and 2013 tours, and states that he plans to use it with a DiGiCo SD7 with Katy Perry this year. “MultiRack SoundGrid with Waves plug-ins has been vital to my sound and workflow with the DiGiCo desks,” he says. “My go-to plug-ins are the Waves C6 Multiband Compressor, CLA-76 and TrueVerb, and of course I use several others as well. Using C6 on vocals works beautifully. I can use much more gentle compression on the channel, because any of the ‘peak-y’ fre-quencies are taken care of beforehand with C6, and subse-quently retain more of the singer’s dynamics. Also, I do some basic EQ with the C6, and that leaves more of the console channel EQ available to me if I need it.”

Recently on tour with German rap artist Casper, front of house engineer Oliver Voges (Faith No More, Tangerine Dream, Sarah Brightman) used MultiRack with a Sound-Grid Server One with a Yamaha CL5 console. “Casper per-forms with a 5-piece rock band,” he says. “My main goal is to transfer the musical vision and energy from the studio recording to a live performance. In order to achieve this, live instruments and electronic sounds need to be glued

together with a huge foundation of low end. This produc-tion is extremely challenging since it encompasses such diverse musical styles – hardcore, hip-hop, indie – creating an immense variety of sound.”

For a solid sub range, he applies a Waves MaxxBass plug-in, tuned to 43 Hz, with the input routed via an aux send, using it as a special FX sub for different sources, finalized by a L3-LL Multimaximizer in order to eliminate peaks and gain on the headroom. And for drums, Voges utilizes “a combination of the very clear Yamaha CL5 input channel EQs to work on resonances, and different Waves EQ plug-ins for coloring. I love the V-EQ4 on kick drums and the SSL G-Equalizer on snare. For these channels I also use the Renaissance Axx compressor in order to get these pumping sounds I’m looking for.”

Front of house engineer Michael Brennan, a long-time Avid user, utilized an S3L for a world tour last year by Scot-tish alt rockers Primal Scream. He primarily chose the S3L because its very compact footprint overcame some pretty seri-ous size restrictions. In addition, the show file he had already created on his VENUE console was compatible with it, so he was confident in a smooth transition.

But what I found really interesting was another plug-in application. Brennan explains: “With the plug-ins and output patch function on the board, I’ve been able to use it as a system controller and crossover on several occasions. This has saved the show both times that the system controller broke, which was awesome.”

Times have most certainly changed in terms of audio tools, and it’s all for the better. n

Senior contributing editor CRAIG LEERMAN is the owner of Tech Works, a production company based in Las Vegas.

Raúl Méndez (left) and Alvaro Ureña of Fluge with consoles being outfitted with Waves capability.

Engineer Michael Brennan mixing Primal Scream on an Avid S3L.

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of new portable consumer devices are designed and released by these entities.

The result has been overcrowding of the radio spectrum that, until recently, was reserved for the professional audio and broadcasting communities. In fact, pro audio/broadcast has already lost more than one-third of the UHF spec-trum that was formerly available. This year, white space consumer devices are hitting the retail market, resulting in further spectral crunching, and next year, another 100 MHz of radio spec-trum above 600 MHz will be auctioned off to the highest bidder. MEETING THE CHALLENGESIf this relentless onslaught of consumer digital radio devices continues to grow unchecked, the days of operating wire-less microphone, IEM and intercom systems will swiftly come to an end. That’s why a small group of wireless audio specialists, including yours truly, formed Radio Active Designs (RAD). Our objective to design and manufac-

FIRST, SOME HISTORY. Profes-sional wireless microphone and inter-com systems have been operating in the United States for well over half a century, and now they’ve been joined by wireless in-ear monitoring systems. At the current time, 95 percent of these systems operate in the Ultra High Fre-quency (UHF) spectrum from 470-698 MHz. This is because the wavelengths associated with radio frequencies in this band are well suited for portable wireless devices such as microphone transmitters and intercom packs due to the small size of their antennas.

In recent years, information technol-ogy giants like Google, Dell, Verizon, Sprint and others have acquired a sig-nificant interest in these radio bands, which have officially been home to the professional audio and broadcast communities since 1962. Since the first smartphones were introduced to the consumer market, the requirement for radio bandwidth has tripled, and it grows exponentially as a steady stream

RADIO ACTIVE DESIGNS UV-1G

ture spectrally efficient wireless audio products so that all live events, per-

forming arts, and broadcast media may continue to flourish with minimal negative impact from consumer devices.

All five of the owners of RAD have worked for decades in the

audio industry as wireless microphone and intercom operators, manufacturers, and event radio frequency (RF) coordi-nators. We’ve had the opportunity to see – first-hand and in real-time – what’s happening with the radio spectrum. We’ve also been involved in FCC dis-cussions regarding the future of these consumer devices and how much radio spectrum the pro audio wireless com-munity will be left with after these devices are introduced to the world.

After studying the amount and type of wireless usage in the U.S., we determined that more than half of the frequencies in use on a typical event are taken up by wireless communications devices. If you add up every wireless microphone, IEM and IFB system at a large event, that number is still less than the number of wireless inter-

The Radio Active Designs UV-1G wireless intercom system.

��

Getting acquainted with a new wireless intercom system.

by James Stoffo

DESIGNERNOTEBOOK

A closer look at a UV-1G beltpack.


com systems used on that same event. Therefore, to make the greatest impact in relief from this spectral congestion, we chose our first product to be a wireless intercom system, the new RAD UV-1G.

NEW DIRECTIONMost of the frequencies used by a wireless intercom are the belt pack to base station frequencies. For example, a stage manager’s wireless intercom system may have only one base station transmitter frequency but require 12 belt pack frequencies. As a result, our approach with the UV-1G completely removes belt packs from the UHF spectrum, instead using Very High Frequencies (VHF) from the belt pack to base station.

To accomplish this, we’ve designed a unique modulation scheme that

we’ve verified is 10 times more spec-trally efficient than the current FM (Frequency Modulation) technology on the market today. This proprietary approach, called Enhanced Narrow Band, is a form of Amplitude Modula-tion (AM), and it makes the transmit-ter’s occupied bandwidth – a critical figure in wireless frequency coordina-tion – more predictable.

For example, a typical FM wire-less intercom system requires 300 kHz

of radio band to function properly. By implementing Enhanced Narrow Band, the UV-1G requires less than 30 kHz, and even if it performed in the UHF band, it would still be about 10 times more spectrally efficient.

Thus by moving to the VHF band for the belt pack to base station fre-quencies, we can fit more than 30 base stations and 200 belt packs into less UHF spectrum than one FM wireless intercom system. From an RF coor-

Front and back views of the base station.


:: Designer Notebook ::

dinator’s perspective, this makes the UV-1G system more than 30 times more spectrally efficient than current UHF FM technology. The bottom line is that it frees up valuable UHF spec-trum that can be used for wireless mic and IEM systems.

A great deal of time and effort was invested in making Enhanced Narrow Band AM signal sound as good as any FM system currently available. Frankly, in the not-too-distant past, this chal-lenge would have been insurmountable, but due to contemporary engineering techniques, we’ve been able to imple-ment a host of digital processing technologies that help produce sound quality with the warmth and intelligi-bility of an FM system.

FURTHER REFINEMENTSAnother goal was to improve the design of a standard production belt pack from the user’s perspective. For example, for a production involving 120 belt packs, only one stage manager needs the “stage announce” function. Why dedicate this prime real estate to an “SA” button for essentially 1 percent of the users on the event?

So rather than pre-assign modes of operation for the user interface but-tons, UV-1G belt packs include two completely programmable buttons that offer users a choice of multiple inde-pendent functions that can be quickly programmed. This can be done locally at the belt pack or via our software program.

What this means for wireless inter-com rental companies is that one tech-nician can program an entire event’s worth of packs in a matter of minutes. It’s a far cry from the hours that it takes to manually program current technology for the same number of packs.

As owners of rental companies our-selves, we’ve experienced numerous problems over the years that have been addressed on the UV-1G based on real

world issues that we have experienced with other wireless intercom systems on the market today. The headset connector on both the belt packs and the base sta-tion is field changeable between 4-pin male and 5-pin female to accommo-date the various systems, based mostly on the industry served. This is a solder-less connection that only requires a mini Philips screwdriver.

Another significant problem at events is the belt pack antenna falling off and getting lost, resulting in the operator losing communications until a repair can be made. Particularly in a life safety environment, we felt that this is an unacceptable risk. UV-1G belt packs implement internal antennas to allevi-ate the problem of bending, breaking, or completely losing the antenna.

Further, RAD belt packs also include a 1/8-inch stereo audio input so that monitor technicians may connect IEM receivers directly to their belt packs. Naturally, this input may be used for any audio source. And there’s only one band split so that every belt pack works with every base station on the event. No more scrounging for the correct RF band splits.

To minimize rack space and maxi-mize ISO channel operation, UV-1G systems allow for up to six belt packs per base station, and up to six base sta-tion links, for a total of 36 ISO channels between packs. That’s three times more than anything we’ve experienced in our wireless careers.

The UV-1G base station comes fac-tory delivered with two transmitter RF connectors so that it may immediately be connected to a combiner, such as the RAD TX-8, without any modification of hardware. The base station may also be connected to all standard wired com-munications systems, including Clear-Com, RTS and 4-wire systems. Finally, the UV-1G can operate completely out of the portable white spaces device band, maximizing chances for success in even the most hostile RF environments. n

JAMES STOFFO is a founding mem-ber of Radio Active Designs (RadioActi-veRF.com), and prior to that, he founded Professional Wireless Systems. James also continues to work as the RF technician and frequency coordinator on large-scale special events and installations. Contact him at [email protected].

A RAD-generated comparison contrasting UV-1G and standard system parameters.

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TRADITIONAL TO CONTEMPORARY

that spans approximately 120 feet in length. On each side of the 18-foot wide stage, the area extends approximately 60 feet for stage left and 60 feet for stage right. And, the floor slopes upward from the stage approximately two feet, both over the length of the room and on the sides of the “T.” In addition, the musicians are positioned in an area at house right, while

IN AN ONGOING EFFORT to make services more relevant to the younger generation, the Catholic Community of Saint Francis of Assisi in Raleigh, NC recently upgraded its house sound reinforcement system to deliver much-improved speech intelligibility as well as to meet the full-range, dynamic needs of contemporary worship.

Cary, NC-based AVCON Audio Visual Concepts designed and deployed the new system for the 1,200-seat sanc-tuary under the direction of company owner/president Frank B. Yarborough and lead systems engineer Eb Strickland, who oversaw DSP programming, system commissioning, and end user training.

The sanctuary is a challenging space – shaped like the letter “T,” the chancel (stage area) area at the top of the space faces the main congregation seating area

additional seating for the congregation extends still further to the side of them.

MAKING IT FITTo deliver coverage to this chal-lenging space, the AVCON team deployed three line arrays comprised of WorxAudio Technologies V5T-P modules. The center array utilizes

eight V5T-P line array modules, while the left hang encompasses six enclosures. And on the right, there are three enclosures in an array flown for congregation members seated closest to the choir area, while another two V5T-P enclosures about 35 feet further right constitute a “delay sys-tem” for those seated on the far side of the musicians.

The V5T-P uses the company’s new PSD-700 power amplifier module, attached to the rear of the enclosure, that provides 350 watts to LF section and 350 watts to the HF section. It also includes both male and female (loop through) XLR isolated I/O in addition to AC PowerCon I/O. Additional low-frequency support is delivered by a WorxAudio UltraWave UW18i-P direct radiating 18-inch sub-woofer flown behind the center array that’s also driven by a PSD-700 module.

“This was the first deployment of the new V5T-P loudspeakers,” Strickland reports. “Using powered loudspeakers streamlined the installation by enabling us to avoid long loudspeaker cable runs and large head-end equipment racks. Each array provides excellent horizontal

Transitioning a system to meet modern requirements.

by R. Maxwell

SNAPSHOT

™ Catholic Community of Saint Francis of Assisi during services, with the new loud-speaker set in place.

¤ A closer look at the positioning of the line arrays and subwoofer.

AVCON’s Eb Strickland (left) and Frank Yarborough with a WorxAudio 8M monitor.


and vertical coverage, with minimal lobing issues where the left – center – right cov-erage patterns overlap, which I attribute to tight pattern control and the FIRmaker filter sets that were employed during the system focusing and steering process.”

WorxAudio is one of the first loud-speaker companies to license AFMG Technologies EASEFocus line array software with FIRmaker technology, which aids beam steering capability. “The acoustical evaluations for loudspeaker performance were based on the full occu-pancy measurement,” Strickland explains. “Hugh Sarvis (CEO of WorxAudio) and Charlie Hughes (a contractor for AFMG) provided both off- and on-site test and measurements. The end results exceeded our expectations. The system is stable and within +/-2 dB throughout the listening areas. Eb and I were both very impressed.”

MIXING & ROUTINGThe average input count during services totals is usually about 24, including a combination of six Sennheiser EW300 Series wireless microphone systems for spoken word, 12 Audix ADX51 mics for choir and instruments, two Audix Microboom mics, and Radial Engi-

neering direct boxes for bass, guitar, and keyboard inputs. And new to the stage are eight WorxAudio 8M 2-way stage monitors. Six are used by the choir and instrumentalists with the remaining two located at the ambo and cantor.

There is no traditional mix position in the sanctuary, but there are two mixing systems. A Roland Systems Group V-Mixer M-200i handles the various inputs from the choir and instrumentalists, while a 16 x 32 Biamp TESIRA I/O server with audio-video bridging provides mixing of speech mics. All hands-on mixing is per-formed with the use of a Crestron control system via an Apple iPad.

Additionally, there really isn’t signal processing in the conventional sense. The FIRmaker settings were imported into the TESIRA for system voicing and tuning of the main loudspeakers, and TESIRA also handles auto mixing, routing, and recall of presets.

‘Saint Francis of Assisi made a sig-nificant investment towards embracing contemporary worship as an integral part of their ministry, and this new sound reinforcement system is a direct reflection of that commitment,” Yar-

borough concludes. “With any large project of this size, it becomes a team effort from concept to delivery. We’re very pleased with the technical know-how that WorxAudio contributed to this project.

“Our client is very satisfied with the end result. The system is meeting their requirements – with speech clarity, cover-age, and support of both traditional and contemporary programs working out exceptionally well.” n

R. MAXWELL is a freelance technical audio writer.

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Evaluating a condenser headworn microphone.by Craig Leerman

Audio-Technica BP894 MicroSet

THE AUDIO-TECHNICA BP894 MicroSet is a sub-miniature cardioid condenser headworn microphone with an innovative rotatable cap-sule housing that can be turned to aim the microphone directly at the user’s mouth no matter which side of the head the unit is worn. Avail-able in standard black or theater beige, a microphone diameter of just 2.8 mm makes for a very discrete package.

The cardioid pattern uses a fixed-charge, back-plate, permanently polar-ized condenser element that delivers a stated frequency response of 20 Hz to 20 kHz and maximum SPL handling of 135 dB. The BP894 is available in wired and wireless versions, and can be ordered ter-minated to match specifi c wireless system belt pack connectors or un-terminated.

FORM & FUNCTIONThe specifi c model used for this review – BP894cW – was outfi tted with a locking 4-conductor connector that fi ts all A-T UniPak transmitters, with other options including Lemo, locking 3.5 mm, and Ta4F. The wired models require between 11 and 52 volts phantom power for oper-ation, while the wireless units get their power from the belt pack.

The BP894 ships in a sturdy foam-lined plastic case that houses the mic, the AT8464 dual-ear mount, and a wind-screen. A 55-inch cable with rugged strain relief is permanently attached to the ear mount. The cable is solidly attached and after handling the mic for a few minutes, I had no worries of the connection coming apart under normal usage.

The ear mount is quite comfortable, and the after bending the loop to fi t, the

mic stayed securely in place. Wearing my glasses while using the mic also proved to be comfort-able, and the length of the cable made it easy to optimally position the element to account

for head movement. The AT8464 dual-ear

mount converts the unit from single-ear to an even more secure headset style. It accommodates both left- and right-side head positioning, along with a very wide range of adjust-ments that allow it to fi t both adults and children. As noted earlier, the capsule rotates, allowing the cardioid pattern element to face the mouth while offer-ing excellent rejection of outside noise. This high gain before feedback is espe-cially much wanted – and often much needed – in live settings.

A-T also provided a System 10 digi-tal wireless system for use with the mic. While not a true touring unit, it ’s a really nice system that operates in the 2.4 GHz band, and up to eight systems can operate simultaneously. (Editor: Gary Parks provided a Road Test of the

System 10 in the March 2013 issue of LSI, and it’s also available

on ProSoundWeb.)

At the shop, I tried the BP894

with both male and female voices and the

audio quality was nothing short of great. The ear mount

was easy to adjust for everyone’s ears, and it stayed secure, while the mic boom was easily bent into a position that hugged their face.

SOLVING A PROBLEMAfter getting familiar with both the mic and wireless system, and satisfi ed that they were both working correctly, I took them out to a great application for them, a local theatrical production.

Setting up the System 10 on-site was as easy as placing the receiver on top of the other wireless rack and plugging it in. The receiver scans the airways and selects a pair of frequencies for the transmitter to operate on. That’s right – I said a pair. The system transmits on two frequencies, with the receiver choosing the one with the best sig-nal. The system also scans for, and chooses, backup frequencies that the system can use in case of interference on the selected fre-quencies. They switch in automatically if

Audio-Technica BP894

The AT8464 dual-ear mount.

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The rotatable element provides a lot of fl exibility and also helps in optimizing audio quality.

needed, with a seamless transition. I used the mic and wireless transmit-

ter while we set up and tuned the house system, and then kept them ready as a spare because the production direc-tor had requested lavaliers rather than headworn mics. However, after seeing how small and unobtrusive the BP894 actually is, she asked me if we could use it with a performer who had a big role but struggles with vocal projection.

I set up the mic with the dual-ear mount and also reconfi gured it from sin-gle-ear style to headset style in less than a minute. During rehearsal, it sounded absolutely great, and there was also a lot more volume and headroom than we would have gotten with a clip-on lav, so it was an easy decision to decide to use it for the actual production.

With its ability to handle high sound pressure levels, the BP894 is also an excel-

lent option for singers and presenters with loud voices. The sound quality is superior, while the adjustable element maximizes gain before feedback while also providing the luxury of fl exible positioning.

Top it off with the ability to quickly and easily switch between a single- or dual-ear, and this is a highly recom-mended microphone for production companies, churches, and performance

venues of all stripes. “One size fi ts all” is often anything but; however, in the case of the BP894, it truly is a single model solu-tion for every headworn mic application.

U.S. MSRP: BP894cW – $479; Sys-tem 10 ATW-1101 – $489.95 ■

Senior contributing editor CRAIG LEERMAN is the owner of Tech Works, a production company based in Las Vegas.

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Making ChoicesMicrophones for a variety of live vocals and instruments. by Live Sound Staff

PERHAPS MORE THAN ANY OTHER pro audio com-ponent, microphones are a personal choice, subject to the specific preferences and goals of both users and sound techs/engineers. Manufacturers continue to create new mics in a wide range of formats, sizes, and price points, stemming from a healthy mix of innovative development, refinement of previous technologies, specialization of mics to specific applications, and changes in manufacturing.

For decades, dynamic mics were pretty much the exclusive choice for live applications due to their ruggedness. Live engi-neers didn’t want to take delicate, expensive condenser mics on the road. That’s changed in a big way now that condensers have been made more robust and roadworthy, and they’re quite capable of handling a wide range of live applications. More tools to help produce the desired result is indeed a good thing.

Over the years, we’ve focused on the principals of dynamics and condensers, along with ribbon and figure 8 designs – and everything in between. Rather than revisit that territory here, we encourage you to visit Microphone World, accessible via the home page on ProSoundWeb, which provides more than 150 reference articles focusing on “all things microphone” – not just designs (although there’s plenty of that) but also a wide range of applications, techniques, history, and engineer/tech interviews. Related topics are also addressed, including cabling, phantom power, stands and mounts... well, you get the idea.

Certain mics perform “better” in certain applications, although there are few hard and fast rules. Again, a lot of mic

selection comes down to individual preference and meeting a specific need. LSI church sound editor Mike Sessler shared an anecdote in a ProSoundWeb post a couple of years ago that gets to the heart of the matter:

“When we bought our new wireless system, I specified a capsule that I planned on using for our worship leader. Turns out, it doesn’t work for him. And as we’ve tried it on many of our vocalists, it doesn’t work for most of them either. In fact, some of them really don’t like it.

“So here we have a capsule that costs over $500, and for the most part, we and most of our singers prefer capsules that sell for less than half that. Quite honestly, I’d be really ticked if I had ordered 10 of those capsules instead of 10 of the others based on the notion that more expensive = better. In fact, I’m going back and ordering a few more of the less expensive ones, because in our PA, with our singers, they are a superior choice.”

The specifics of each application also impact mic choices. For example, in some acoustic music situations, a drum kit can be viewed as a single instrument, captured with a pair of mics in a stereo configuration (or a single stereo mic). They pick up the kit as a whole, and the balance among the various pieces depends more upon the drummer.

On the other hand, a drum kit can be viewed as a col-lection of individual instruments, picked up with close mics applied to each drum. Or, perhaps a combination of area and close miking is most fitting for the performance. In each of these applications, success or failure is primarily based upon mic selection and placement (along with the skill of the mix engineer, of course).

But what are the specific mics selected? Beyond the one common component – drums – the specifics of these applica-tions vary widely. It’s not enough to select mics designed and marketed for drums and then assume it will work out for the best. Mic selection is often a matter of trial and error, requiring hands-on investigation. And as Ken DeLoria noted in a recent article about mic selection, “Whenever you have available time, don’t hesitate to try a second, third, or even a fourth mic on a given instrument. In this way, you can compare it to your go-to selection in real time, at a real event (or at least at sound check). You may just find some surprising results.”

The purpose of this installment of Real World Gear is in line with that thinking, to provide a solid starting point for the process by highlighting a wide variety of microphone designs that deserve further consideration. n

��


Carvin M68 & CTM100 www.carvin.com

The M68 is a unidirectional handheld microphone renowned

for its presence and crisp output in live vocal applications. It

delivers a tight, natural response with slight presence rise in

the mid-frequencies for excellent high-end intelligibility and

punchy (not boomy)

bass response. It’s pre-

ferred for club use, rock

singers, or any vocal-

ist requiring the best in

vocal reproduction.

The CTM100 tube

condenser is designed

for both critical vocals

and instruments such as

electric bass, shown here with noted bassist Darryl Williams. In

particular, it’s a great selection for a range of recording (studio

and live) applications. The multi-pattern design provides nine

selectable settings, including cardioid, omnidirectional, fig-

ure-8, and more.

KEY SPECIFICATIONSCarvin M68Format/Style: Handheld vocal microphoneTransducer Type: DynamicPolar Pattern: CardioidFrequency Response: 45 Hz – 15 kHzSensitivity: -74 dBTECHNOLOGY FOCUS: The cardioid polar pattern offers superior off-axis performance and feedback control, while the built-in foam wind screen delivers exceptional pop, breath and wind noise rejection.

KEY SPECIFICATIONSCarvin CTM100 Format/Style: Instrument microphoneTransducer Type: CondenserPolar Pattern: Multi-patternFrequency Response: 20 Hz – 20 kHzMaximum SPL: 125 dBTECHNOLOGY FOCUS: Dual 1-inch gold-sputtered 5-micron diaphragms are housed in a special shock mounted capsule and a vacuum tube pre-amp, all suspended in a solid machined cas-ing. And, the shock-mount suspension virtually eliminates vibration and handling noise.

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ATM250DEFormat/Style: Stand-mount instrument

Transducer Type: Dynamic/condenser dual-element

Polar Pattern: Hypercardioid (dynamic)/cardioid (condenser)

Frequency Response: 40 Hz – 15 kHz/40 Hz – 20 kHz

Sensitivity: -53 dB/-49 dB

Maximum SPL: 148 dB (condenser)

Of Note: Flat or 80 Hz high-pass; -10 dB pad; 5-pin XLR

connector with supplied cable ending in two 3-pin XLR.

WL40VFormat/Style: Wireless capsule (for handheld)

Transducer Type: Back-electret condenser

Polar Pattern: Hypercardioid

Frequency Response: 30 Hz – 40 kHz

Sensitivity: Dependent upon wireless system

Maximum SPL: 135 dB

Of Note: Uniform frequency response at 0, 45 and 90

degrees. Circuitry is specifically “hardened” for use with

2.4 GHz wireless systems.

ATM5400Format/Style: Handheld vocal

Transducer Type: Condenser (externally polarized)

Polar Pattern: Cardioid


Sensitivity: -40 dB (10 mV, re 1V at 1 Pa)

Maximum SPL: 157 dB SPL (with 10 dB pad, nominal)

Of Note: Multi-stage grille design offers excellent pro-

tection against plosives and sibilance without compro-

mising HF clarity.

DP30/CFormat/Style: Drum “periscope” for snare/toms

Transducer Type: Condenser


Frequency Response: 30 Hz – 30 kHz (±2 dB at 6 inches)

Sensitivity: 10mV/Pa (-40 dBV/Pa)

Maximum SPL: 145 dB

Of Note: Right angle mic head is mounted to the goose-

neck for easy positioning, and will not move when drums

are hit hard.


Shure � � www.shure.com

AKG � � www.akg.com

KSM9HSFormat/Style: Handheld vocal

Transducer Type: Dual-diaphragm condenser

Polar Pattern: Switchable hypercardioid/subcardioid


Sensitivity: -50.5 dB

Maximum SPL: N/A

Of Note: Transformerless preamp circuit; dual gold-layered

3/4-inch diaphragm; also available as Axient, ULX-D and

UHF-R wireless transmitter.

D7Format/Style: Handheld vocal

Transducer Type: Dynamic

Polar Pattern: Supercardioid


Sensitivity: -52 dB

Maximum SPL: 156 dB

Of Note: Mechano-pneumatic capsule suspension

and integrated high-pass filter effectively eliminate

handling noise.

SM27Format/Style: Side-address instrument

Transducer Type: Condenser (externally biased)



Sensitivity: -37 dBV/Pa

Maximum SPL: N/A

Of Note: Large diaphragm provides superior transient

response; switchable 15 dB pad for handling high SPL;

3-position switchable LF filter.

D12 VR Format/Style: Instrument (kick drum in particular)

Transducer Type: Dynamic (pressure gradient)



Sensitivity: -74 dB

Maximum SPL: 164 dB

Of Note: Three active filter presets to match the mic’s

sound shape with the kick drum’s character.


DPA Microphones d:facto II & d:fine www.dpamicrophones.com

DPA’s d:facto II is a vocal micro-

phone that provides extraordinary

natural sound, high separation

from nearby sound sources, and

extreme sound level handling. A

carefully considered supercar-

dioid pattern and superb definition gives high separation

and true sound color on stage, while a robust three-stage

pop protection grid removes unwanted noise. The d:facto II

is superbly linear in frequency and phase, both on- and off-

axis, while its impressive definition and accuracy effortlessly

reproduces a singer’s voice.

DPA’s d:fine headset microphones provide both omni

and cardioid miniature microphone solutions for perform-

ing talent of all types, including singers. A natural response

ensures you hear the sound of the voice right away – not the

mic. The d:fine series also tackles the challenges of acousti-

cally demanding live performance environments, eliminating

concerns about background noise and feedback. A smooth,

elegant design makes the d:fine headset the most invisible

headworn mic available.

KEY SPECIFICATIONSDPA d:facto IIFormat/Style: Handheld vocal microphoneTransducer Type: CondenserPolar Pattern: SupercardioidFrequency Response: 100 Hz – 16 kHz (with 3 dB soft boost at 12 kHz)Sensitivity: -46 dBMaximum SPL: 160 dBTECHNOLOGY FOCUS: The d:facto II has the ability to adapt to all major wireless systems. It also features a built in rubber shock-mount to decrease handling noise and a high quality triple-stage pop filter to nearly eliminate pops and plosives.

KEY SPECIFICATIONSDPA d:fineFormat/Style: Headset/head-worn vocal microphoneTransducer Type: CondenserPolar Pattern: Both omnidirectional & cardioid availableFrequency Response: 20 Hz – 20 kHzSensitivity: -44 dBMaximum SPL: 144 dBTECHNOLOGY FOCUS: Lightweight and extremely comfortable, the d:fine’s modular design allows for parts to be added or replaced, can be worn on either the right or left ear and can be changed from single-ear to dual-ear and vice versa. The d:fine series also now features DPA’s classic 4066 and 4088 capsules.



TELEFUNKEN CU-29 & M82 www.t-funk.com

The CU-29 “Copperhead” offers a warm, well-rounded low

end accented by a delicate and intimate air in the high end.

The clarity and detail are unsurpassed by any other mics

near its surprisingly low price range. Each component was

experimented with and

individually selected for

the best sonic and elec-

tronic qualities. The Cop-

perhead (pictured here)

is an excellent multi-

purpose mic that sounds

great on drums, electric guitar, vocals, bass, piano and a

countless number of other applications.

Meanwhile, the M82 end-address dynamic mic offers

two separate EQ switches – KICK EQ and HIGH BOOST,

which yield four unique settings, giving the user the abil-

ity to tailor the response to the source with ease. Though it

was designed with the kick drum as a primary application,

where it is both fat and punchy, the two EQ switches make

the M82 equally suited for a multitude of sources such as

vocals, percussion, broadcast voice, guitar and bass ampli-

fiers, organ, and brass instruments.

KEY SPECIFICATIONSTELEFUNKEN CU-29 “Copperhead”Format/Style: Vocal & instrument microphoneTransducer Type: Condenser (pressure gradient)Polar Pattern: CardioidFrequency Response: 20 Hz – 20 kHzSensitivity: 19.5 mV/pa (+/- 1 dB)Maximum SPL: 130 dBTECHNOLOGY FOCUS: The fine-tuned amplifier design features a NOS TELEFUNKEN 6AK5W vacuum tube and a Lundahl LL1935 output transformer. Specific attention was given to circuit board layout, with countless revisions done to optimize current flow and directness of traces.

KEY SPECIFICATIONSTELEFUNKEN M82Format/Style: End-address instrument & vocal microphoneTransducer Type: Dynamic (moving coil)Polar Pattern: CardioidFrequency Response: 25 Hz – 18 kHzSensitivity: 1.85 mV/PaMaximum SPL: >146 dBTECHNOLOGY FOCUS: The large 35 mm diaphragm provides superb low frequency capabilities. When placed just inside the hole of the resonant kick drum head, the M82’s tailored frequency response captures both the beater attack and shell resonance without the need for multiple mics.

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e965Format/Style: Handheld vocal


Polar Pattern: Switchable cardioid/supercardioid


Sensitivity: -43 dB

Maximum SPL: 142 dB

Of Note: Low-cut switch to reduce ambient noise, rumble,

and wind noise; switchable pre-attenuation (-10 dB) accom-

modates singers with powerful voices.

H6Format/Style: Headset vocal


Polar Pattern: Omni, cardioid or hypercardioid

Frequency Response: 20 Hz – 20 kHz (omni) /

30 Hz – 15 kHz (both cardioids)

Sensitivity: -43 dB/-54 dB/-63 dB (omni W5, W6, W7)

Maximum SPL: 120 dB/130 dB/140 dB (omni W5, W6, W7)

Of Note: 2.5 mm capsule, cardioid and hypercardioid caps

supplied; three different sensitivities.

e906Format/Style: Side-fire instrument


Polar Pattern: Supercardioid


Sensitivity: 2.2 mV/Pa

Maximum SPL: N/A

Of Note: Particularly effective for guitar cabinet miking;

3 adjustable sound characteristics (bright, normal,

smooth).

ISOMAX 2Format/Style: Multipurpose instrument


Polar Pattern: Omni, cardioid or hypercardioid

Frequency Response: 20 Hz – 20 kHz (omni) /

50 Hz – 20 kHz (both cardioids)

Sensitivity: -57 dB

Maximum SPL: 150 dB

Of Note: Also available in bidirectional/figure 8 versions;

very small size for placement and mounting options for

placement inside or outside instruments.

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Live D-84Format/Style: Multipurpose instrument

Transducer Type: Condenser (externally polarized)



Sensitivity: -30 dB

Maximum SPL: 138 dB

Of Note: Internal shock mount eases placement; line

also includes D-80 dynamic and D-82 ribbon/figure

8 models.

BP7 PRO Mic SetFormat/Style: Vocal and instrument


Polar Pattern: Hypercardioid (vocal)/

cardioid (instrument)

Frequency Response: 48 Hz – 19 kHz (OM5)

Sensitivity: -56 dB (OM5)

Maximum SPL: 144 dB (OM5)

Of Note: Set consists of two OM2 vocal, three i5 instrument,

OM5 vocal, and D6 kick, plus clips and case.

PR 35Format/Style: Handheld vocal; also instrument




Sensitivity: -52.9 dB

Maximum SPL: 140 dB

Of Note: LF filter switch rolls off at 80 Hz at -6 dB per

octave when activated; ports sense a unwanted audio from

behind the source that enters out of phase.

enCORE 300Format/Style: Handheld vocal




Sensitivity: -39 dB

Maximum SPL: 146 dB

Of Note: Proprietary phantom power circuit delivers con-

sistent tone and minimal noise; floating capsule mounting

for improved isolation.

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RE320Format/Style: Multipurpose instrument




Sensitivity: -52 dB

Maximum SPL: N/A

Of Note: Variable-D design minimizes proximity effect;

2-position frequency switch with kick drum and flat EQ

curves.

TG V71dFormat/Style: Handheld vocal

Transducer Type: Dynamic (pressure gradient)

Polar Pattern: Hypercardioid


Sensitivity: - 50 dBV

Maximum SPL: N/A

Of Note: Optimized for extremely close miking; tailored

high-pass filter; tight rear attenuation (> 25 dB at

110 degrees, at 1 kHz).

KK 204/KK 205Format/Style: Capsules for Sennheiser 2000 wireless transmitters


Polar Pattern: Cardioid/Supercardioid


Sensitivity: - 51 dBV

Maximum SPL: 150 dB

Of Note: Design based on noted KMS 104 and KMS 105 handheld

models; low susceptibility to handling noise; built-in suppression of

popping noises.

R-122LFormat/Style: Multipurpose instrument

Transducer Type: Ribbon

Polar Pattern: Bi-directional (figure-8)

Frequency Response: 30 Hz – 15 kHz (+/-3 dB)

Sensitivity: -37 dB

Maximum SPL: 135 dB

Of Note: Increased sensitivity comes from a large,

specially wound toroidal transformer; phantom power

circuitry converts impedance only, adding no noise.

NEWSBYTES: : The latest news from ProSoundWeb.com : :


s Founded by

Billy Thomp-

son in 1974

on the wings

of a success-

ful live sound company, Ashly Audio is

celebrating its 40th anniversary. In the

1980s, Thompson (whose lab bench

is shown in the image here) pioneered

Ashly’s much-lauded MOS-FET amplifi-

ers, which dramatically increased power

and reliability while minimizing size and

cost. Today the company continues in

that tradition by delivering high-power,

high-fidelity amplifiers in small-footprint,

multi-channel configurations, along with

a steadily growing stable of DSP devices

and user interfaces.

“Ashly has always had a relatively slow

but steady growth trajectory,” states

company president Mark Wentling.

“Many similar companies started out

around the same time as Ashly Audio

but have since closed their doors or

been absorbed into other companies to

become just another ‘brand.’ People have

moved on and factories have been shut-

tered or moved overseas. Our approach

has always been to remain steady,

dependable, and maybe a little conserva-

tive, and that contributed to the 40 strong

years that we’re now celebrating. Indeed,

the Ashly philosophy reflects back on our

employees – many of the people still on

the payroll in engineering, administration,

and manufacturing were there when the

company was just starting up.”

s Alford Media, a Dallas-Fort Worth

area-based company that specializes

in high-end corporate events, recently

added Martin Audio MLA to its sound

reinforcement system inventory. Specifi-

cally, Alford opted for a system com-

prised of 32 MLA Compact, 32 MLA

Mini, 18 DSX and 8 MSX subwoofers.

s KV2 Audio has

appointed Ron Pilon

as director of sales for

Canada, heading up a new

distribution arm for the company under

the guise of KV2 Audio Canada. Pilon

previously worked with Yorkville Sound

for more than 13 years, climbing to the

position of export sales manager before

leaving in 2012 to join Monster Cable.

s Karen Ames has joined

Meyer Sound in the newly

created position of vice

president of marketing and

communications. A veteran communica-

tions professional who has worked with

a diverse range of artists and institutions

– from the San Francisco Symphony

to George Thorogood – she is charged

with the overall leadership for corporate

communications, marketing, advertising

and sponsorships, social media, public

relations, philanthropy, and public affairs.

s Core Brands has

appointed industry veteran

Paul Roberts to the position

of director of pro division

sales, where he is directing the develop-

ment and implementation of all vertical

and systems integration sales programs

for the company’s professional products,

with particular focus on the Furman and

Xantech brands.

s The Melrose Ballroom in Astoria, NY

opened its doors in early March with a

performance audio system from Boston-

based Audio Spectrum that’s headed by

EAW KF740 line

arrays, with left-

right hangs each

comprised of six

of the 3-way array

modules. Coverage is extended to the

tough-to-cover mezzanine seating as well

as the very back of the long room with five

EAW VFR89i 2-way loudspeakers that are

delayed in relation to the mains.

Additional low-end energy is supplied

by a center-flown cluster of four EAW

SB2001 dual-21-inch subwoofers. All

loudspeakers are driven by Lab.grup-

pen PLM amplifiers joined by two EAW

UX8000 digital signal processors in the

house racks. The processors deliver all

processing parameters as well as EAW

Focusing settings that are matched to

each loudspeaker and array.

s Detroit-based

Thunder Audio

specified the use of its

new L-Acoustics K2

loudspeaker system

for the main stage

at Moogfest in Asheville, NC – specifi-

cally, at US Cellular Center’s 2,431-seat

Thomas Wolfe Auditorium. The loud-

speaker complement included left and

right arrays of nine K2, plus eight SB28

subs and three ARCS II out-fills per side.

Two additional K2 and two K1-SB

subs per side were utilized as side fills,

while six KARA enclosures were spread

out across the stage lip for front-fill.

s English-Irish pop band One Direction,

along with 60,000 of their fans, recently

kicked off the

“Where We

Are” world

tour at the

Estadio el

Campin in

Bogota, Colombia, with C. Vilar provid-

ing sound reinforcement that included

Adamson Systems Energia line arrays

s COMPANIES & PEOPLE

s APPLICATIONS


and an assortment of other Adamson

loudspeakers in support roles.

The left-right arrays each consisted

of 18 E15 and four smaller E12 enclo-

sures. Further low end was provided by

24 Adamson T21 subwoofers, ground

stacked 3 x 4 under each array. “We

worked with Brian Fraser, applications

engineer at Adamson, to help create a

3D design of the system using the new

Blueprint AV software,” explains Mauri-

cio Vilar. “It was incredibly accurate and

made system set-up that much easier.”

s A recent

upgrade to the

sound system

at the Moorea

Beach Club at the

Mandalay Bay Resort and Casino in Las

Vegas includes 22 QSC Audio Acous-

ticDesign AD-S282H surface-mount,

full-range loudspeakers. Selected for their

weather resistance and durability, the

dual 8-inch, 2-way loudspeakers support

background music and DJ performances.

“The AD-S282H can take the Vegas

heat, and it can take how dry it is,” says

Matthew Paupst, director, lighting and

control systems at AVDB Group in Las

Vegas, which handled the project.

s Sound

Works

Productions

of Frankfort,

IL was once

again tapped

to provide audio production for the recent

Philfest at the Norris Center’s East Lawn

at Northwestern University in Evanston,

IL, supplying a main system headed by

flown arrays of five NEXO GEO S12s,

joined by two RS18Ray Subs per side

(ground stacked), and two NEXO PS10

loudspeakers providing front fill.

All loudspeakers were driven with a

NEXO NX4x4 amp rack, with a Yamaha

Commercial Audio M7CL digital con-

sole posted at front of house and an LS9

digital console at monitors.

s An SSL Live

console is on the

road with iconic

Latin rocker

Carlos Santana,

whose perennial monitor engineer, Brian

Montgomery, is using it to mix both

stereo wedges for Carlos and IEMs for

his band. Montgomery was introduced

to the console by Rob Mailman, FOH for

Santana and GM of touring for Sound

Image, which supplied the console.

“I’d been looking to switch consoles,

so when Rob started telling me about

the way SSL Live’s control surface was

laid out, I was extremely interested,”

notes Montgomery. “Once I finally got

to see the console, it drew me right in. I

actually never heard the console before I

decided to use it.”

s The new Gors Concert Hall in

Rezekne, Latvia, offering a main multi-

function performance room that can seat

1,000 and be reconfigured to accommo-

date more than double that amount, has

been outfitted with a sound reinforce-

ment system headed by d&b audiotech-

nik V-Series line arrays.

“The precise constant directivity of the

V-Series, with the V-SUBs flown above

the main line arrays, gave us absolute

pattern control down into the lower

frequencies,” says Edmunds Zazerkis,

director of Riga-based Universal Baltic

Sound (UBS), which handled the project.

s Nashville’s The

Listening Room

Cafe, which moved

into its new home

downtown in early

2013, recently added new Bose Profes-

sional RoomMatch loudspeakers in

time for the city’s annual Tin Pan South

festival. The new system is flexible; with


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m

the flip of a switch it can accommodate

full band stage performances or intimate

acoustic “in-the-round” performances.

The system is headed by two Bose Pro

RM7020 modules, two RM12040 mod-

ules, 10 RMU208 modules, one RMS218

subwoofer module and one Panaray

MB12-III modular bass loudspeaker, all

powered by three PowerMatch PM8500N

amplifiers and a single PM4500N ampli-

fier. Processing is handled by a Con-

trolSpace ESP-4120 Engineered Sound

Processor and CC-64 Control Center.

s A new sound

reinforcement

system for the

hockey arena in

Heinola, Finland,

incorporates Ashly Audio processing

and amplification driving FBT loudspeak-

ers. The new system was developed

by Finnish AV integration firm Noretron

Communication to serve the arena,

which has an official capacity of 1,600

that often swells to as much as 3,000.

s Gerardo Ortiz, a stand-out artist in the

Norteño-Banda, Corridos music genre,

is on tour with a system supplied by Los

Angeles-based International House Of

Music that’s headed by D.A.S. Audio

Aero Series 2 and Convert loudspeakers.

Specifically, the main system includes 36

D.A.S. Aero 50 3-way, large-format line

array modules – powered by Lab Grup-

pen 10000Q power amplifiers – as well

as 24 LX-218CA powered subwoofers.

The system is augmented by D.A.S.

Convert 15A powered multifunction

loudspeakers, Aero 12A powered, 2-way,

mid-high line array elements, and Road

15A 2-way powered stage monitors.

s The Grand

Theater at the

Phoenix Valley

Cultural Center

in Changzhou,

China, needs

audio to accommodate a variety of

events, from drama, live shows and TV to

meetings, conferences and multi-media

reporting. The venue’s new main system,

designed by Shanghai LeDian Audio

Equipment, comprises left, right, and cen-

ter hangs of 14 Renkus-Heinz STLA/9

line array loudspeakers.

Eight R-H SGX41 loudspeakers are

mounted on the orchestra rail for front

fill, with six TRX81 boxes providing rear

fill, and four DRS18-2B subwoofers

adding low end reinforcement. Onstage

monitoring is handled by a combination

of R-H PNX151T, TRX121/9, and CF81

cabinets. n

or call 727.823.8037 FL USA

Dali Museum in St Petersburg, FL

www.RamsdellProAudio.com

Ideal for even the most challenging venues

Contact us today to learn more!

Tel: 712-322-3900

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Adamson Systems Engineering Inc. . . . . . . . . . . . . . . BC . . . . . . . . . . adamsonsystems .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Allen & Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 . . . . . . . . . . . www .americanmusicandsound .com . . . . . . . . . . . . . . . . . . . . . . . —

Applied Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . 19,69 . . . . . . . . . appliednn .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800-883-0008

Ashly Audio, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 . . . . . . . . . . . www .ashly .com/nX . . . . . . . . . . . . . . . . . . . . . . . . . . 800-828-6308

Avid Technology, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . .1 . . . . . . . . . . . avid .com/S3L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Bose Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . . . Bose .com/hearit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Carvin Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . . carvinaudio .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800-854-2235

Celestion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 . . . . . . . . . . . www .celestion .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Crown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 . . . . . . . . . . . www .crownaudio .com/vRack .html . . . . . . . . . . . . . . . . . . . . . . . . —

d&b audiotechnik . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 . . . . . . . . . . . www .dbaudio .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

D.A.S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 . . . . . . . . . . . — . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 888-DAS-4-USA

DiGiCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 . . . . . . . . . . . www .digico .biz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 877-292-1623

Earthworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 . . . . . . . . . . . earthworksaudio .com/worship . . . . . . . . . . . . . . . . . 603-654-2433

EAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 . . . . . . . . . . . www .eaw .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Eighteen Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 . . . . . . . . . . . www .eighteensound .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Eminence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . eminence .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Epson America, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . 13 . . . . . . . . . . . epson .com/avpartner . . . . . . . . . . . . . . . . . . . . . . . . 888-475-8062

Faital USA, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 . . . . . . . . . . . www .faitalpro .com . . . . . . . . . . . . . . . . . . . . . . . . . . 516-779-0649

Full Compass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 . . . . . . . . . . . fullcompass .com . . . . . . . . . . . . . . . . . . . . . . . . . . . 800-356-5844

Full Compass / Shure . . . . . . . . . . . . . . . . . . . . . . . . . . 37 . . . . . . . . . . . fullcompass .com/shurepromo . . . . . . . . . . . . . . . . . 800-356-5844

Grundorf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 . . . . . . . . . . . www .grundorf .com . . . . . . . . . . . . . . . . . . . . . . . . . 712-322-3900

ISP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 . . . . . . . . . . . www .isptechnologies .com . . . . . . . . . . . . . . . . . . . . 248-673-7790

JoeCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . www .joeco .co .uk . . . . . . . . . . . . . . . . . . . . . . . . . . . 615-833-1824

KV2 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 . . . . . . . . . . . www .kv2audio .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

L-Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . www .l-acoustics .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Lectrosonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 . . . . . . . . . . . www .lectrosonics .com . . . . . . . . . . . . . . . . . . . . . . . 800-821-1121

Meyer Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IBC . . . . . . . . . . — . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

MIPRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . www .mipro .com .tw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Montarbo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC . . . . . . . . . . www .montarbo .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

PreSonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . www .presonus .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

QSC Audio Products, LLC . . . . . . . . . . . . . . . . . . . . . .5 . . . . . . . . . . . qsc .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Radial Engineering Ltd. . . . . . . . . . . . . . . . . . . . . . . . . 41 . . . . . . . . . . . www .radialeng .com . . . . . . . . . . . . . . . . . . . . . . . . . 604-942-1001

Ramsdell Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 . . . . . . . . . . . www .RamsdellProAudio .com . . . . . . . . . . . . . . . . . . 727-823-8037

RCF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . www .rcf-usa .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Renkus-Heinz, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 . . . . . . . . . . . www .renkus-heinz .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Riedel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 . . . . . . . . . . . www .riedel .net . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Solid State Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 . . . . . . . . . . . www .solidstatelogic .com/live . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Sound Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 . . . . . . . . . . . www .SoundPro .com . . . . . . . . . . . . . . . . . . . . . . . . 800-203-5611

Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . www .waves .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Yamaha Commercial Audio Systems, Inc. . . . . . . . . . 27 . . . . . . . . . . . www .yamahaca .com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —

Live Sound International provides this index as a service to advertisers. We assume no responsibility for errors or omissions.

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BACKPAGE

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System engineer Tom Worley on building a career. by Keith Clark

From The Ground Up

A COUPLE OF TRUSTED FRIENDS, both long-time tour-ing sound veterans, recently introduced me to Tom Worley as a highly skilled system pro who not only really knows his stuff, but is a true pleasure to work with. Not yet 30 years of age, Tom’s worked with a who’s who of tours by top artists, largely as a system engineer/tech, and most recently, as the audio crew chief for leading UK touring company Britannia Row on the recent Depeche Mode world tour. I thought it beneficial to present more about Tom’s career path and “how he got here.”

Keith Clark: Were you always interested in audio? How did you get your start on the professional side? TOM WORLEY: Not at all, I grew up on a deer farm on the east coast of New Zealand. I did, however, play music, but mostly was interested in sports. Along the way I was offered an opportunity to intern at Oceania Audio out of Auckland in New Zealand, starting out with sanding and painting (Turbosound) Flashlight cabinets but moving pretty quickly into the technical side.

Was the evolution to working on the system engineering/tech side of the equation, as opposed to the mix side, intentional? It wasn’t, but more a result of starting my career in New Zealand, where it was important to have a broad spectrum of skills. I’ve always been on the rental company side as well. It’s served me well for nearly 12 years.

Ever have the desire to get behind the console? Or, if/when you do, what do you like/dislike about it? I love all aspects of sound. The mixing console is obviously a very important link in the chain, and I do get a sense of satisfaction from mixing. Especially monitors – I find it a lot more satisfying and enjoy developing a close relationship with the bands and crew.

What part of systems engineering most interests you? I’ve always enjoyed working with people, and also am passionate about the logistics and management of it. I like being in challenging situa-tions, overcoming difficult scenarios and hearing mix engineers get great results. As we all know, sound is very subjective, and there’s certainly no right way to achieve what we want. It’s great when you have the time to experiment, listen, and learn.

What are the most challenging aspects of the job? Nowadays it’s the public’s perception of what a concert should sound like. Yes, the technology, tools, and education are better than ever before, but the

audience has very high expectations, not only for sound but all facets of the production, because the precedent has come to be set so high.

And what are the most exciting and/or satisfying aspects? For me, it’s the music. Fundamentally, music is what’s gotten me here in the first place. It’s very satisfying to experience a great band playing great music in some amazing parts of the world.

How do you stay on top of the latest techniques and technologies? I’ve been fortunate to have affiliations with some of the best rental companies in the world. Not only have they offered me formal training, but their personnel have mentored me, providing a great amount of advice and direction along the way. I’m now working to do the same with up-and-coming system engineers. In this way, we all thrive.

Is there a “best way” to build a career as a system engineer? From the ground up. In any profession, having a better understanding of the whole enhances knowledge, so truly understanding every facet of house and monitor systems, combined with experience, leads to an unsurpassable skill-set. My advice to those just start-ing out in pro audio is to get in with the rental companies and work incredibly hard, and it will eventually pay off.

What are the keys to working successfully with mix engineers? First you must be personable and approachable. Then work out as quickly as possible what they’re trying to achieve, combining their ideas with your knowledge to get the most out of the systems at every show, no matter what. Work together, make compromises if necessary, and always have the best interests of the artist at heart. n

KEITH CLARK is editor in chief of Live Sound Interna-tional and ProSoundWeb.

Tom Worley

PhotPhoto Cro Credited : Ralph LarmLarmannann

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