Chris Engel: It sounds as though we are moving into an era of “point and shoot” sound systems. Are these new systems going to be locked up where the operator cannot change the settings of delays, crossovers, etc?

David Scheirman: "Point & Shoot" systems...well, Chris, do you want these systems to be "locked up"? John Meyer really showed us all how you can have certain benefits by having things like crossover settings, etc. "locked out" from interaction by the system operator.

In many situations, the "lock out" that you suggest is a desirable thing. In others, it is not. For instance...when I was mixing on a lot of Meyer systems, I found that using the VX-1 (a precision broadband equalizer marketed by Meyer) worked really well as a "Virtual Crossover"...this let the system opeator at FOH 'set' his desired tonal characteristic, without "messing with" the precision settings that the good folks at the Meyer factory had researched.

In fact...I'll bet John and Helen would still be glad to sell VX-1's to you Meyer system users who want a bit more control over the system from the mix position. :-)

Harry: Could you give a bit of history of HLA, where it came from, what AA has to do with it, and how it differes from their system?

David Scheirman: HLA (Horn Loaded Array) was developed primarily by Mick Whelan (formerly of Electrotec and now at Crown)...Albert Leccese (Vice President, Engineering)...and Bill Gelow (formerly of JBL, now at EV).

AA (Audio Analysts) required a custom, high powered, multiway hornloaded system. The JBL R&D group needed a vehicle to field test some advanced, radically-different components. Audio Analysts took their first AALTO (3-way) system inventory in 1995....JBL introduced HLA (a 4-way, commercially available system product) in 1996.

Harry: I have heard AA developed the space frame, is that true? What about the horns themselves, who developed them?

David Scheirman: The Spaceframe, a tubular aluminum construct, was developed by JBL R&D. JBL holds a Patent on the technology. As advised previously, Audio Analysts was a customer with a specific need. The Spaceframe was implemented on the firm's custom system as a viable solution to the mechanical/rigging challenges.

And that brings us to the horns...the waveguides on the AALTO system are proprietary to Audio Analysts. The waveguides on the JBL HLA are proprietary to JBL. JBL often works 'behind the scenes' with major concert sound companies. In many ways they are like our "racing teams".

JBL provides component transducers with some serious advantages, both technical and sonic. The "racing team" firms provide valuable feedback by field testing, etc.

Chris Kathman: When you are in a show situation and the locals have a little bit to be desired, I have found that being Mr. Big Pants can be the wrong way to go. In other words, haranguing them can be counter-productive. Have you ever had to "gentle" your way through a dodgy situation?

David Scheirman: Yep...being "Mr. Big Pants"..."Mr. White Gloves"...just doesn't cut it. I always have enjoyed working to train/instruct the type of "locals" you suggest...when time permits.

When you are under the gun, though, with a production schedule and a demanding concert artist or band...sometimes it's hard to maintain diplomatic relations with an incompetent sound system vendor. You have to roll up your sleeves, put on your hip boots, and wade in.

As a soundmixer, the results of the show are ultimately your responsibility. Regardless of how you get there, sometimes.

Chris Kathman: SFX - the monster that ate up regional promoters ... will sweetheart touring contracts result as well?

David Scheirman: SFX (now owned by Clear Channel Communications)... http://www.sfx.com (?)...the company does represent some interesting business positions.

"Sweetheart" touring contracts might result for some of the major vendors, I suppose, once the various promoters and venues begin to get "bundled" together, and work on collaborative tour packages. The goal in those situations is to make it easier for a particular artist to book a nationwide tour...and then, for the venues to get a consistent package without having so many cost variables.

We all are interested, I think, to see how this type of consolidation turns out. It will certainly affect smaller regional companies, and the major ones as well. It is hard to predict who the "winner" is in the scenario you suggest - the artist? the venue? the sound company?

Probably not the rental sound company, promoters are ALWAYS trying to cut the cost they pay for sound, regardless of whether they are a conglomerate or not! :-)

Bob Rice DDS: We have heard rumors of a Clair/SFX thing, nothing solid yet.

David Scheirman: Hey Bob, nice to see you join us! I learned years ago, that 'rumors' are often just that... how's everything in Fiberglass horn land? (for those who don't know, Bob and his company make some of the best, most affordable horns going...)

Tucci: I have a little experience with the Vertec. What's the deal with support at the website? Where can I get a copy of the Vertec array calculator spreadsheet?

David Scheirman: The VT Line Array Calculator is distributed through JBL's sales channel and is provided directly to system owners.

Re: support at the JBL website...in progress on a daily basis, some good new tools for system owners will be online...as they always say regarding software configuration...stay tuned!

chat.boy: This concludes this evening’s chat with David Scheirman.

Chris Kathman: Our moderator was the world-famous Another Dave!

Moderator: It's a small, small world. Thank You David, and David.

Chris Kathman: Thanks for chatting with us, David.

David Scheirman: Thanks Chris, it was a pleasure.

Moderator: This ends our series of chats by guys named Dave.

Chris Kathman: Our next chat is with the Old Soundman on the 21st of this
month, two weeks from today. Buenas noches.