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Friday, August 21, 2009

In Profile: Monitor Engineer Michael Prowda, Listening & Balancing

“The thing about audio is that you never know everything. If you think you do, you’re destined to fail.” – Michael Prowda

After Michael Prowda made the decision to get into live sound he never looked back.

“I had no expectations at the time,” he said. “I just wanted to do it. It was like I was driven to be successful.”

Based on that comment, it’s no great surprise that the Syracuse, NY-born monitor engineer counts running among his favorite off stage activities.

He brings the kind of discipline and perspective to his work that’s essential to anyone who takes pleasure from testing their limits over the long haul.

If the company you keep is any measure of success, then Prowda’s drive has yielded stellar results.

Over 30-plus years at the desk, Prowda has mixed for a variety of bonafide musical legends: Taj Mahal, Heart, Grateful Dead, Stevie Wonder, Whitney Houston, Eagles, Carly Simon, Frank Sinatra, as well as Blue Man Group, numerous VH1 awards shows, the Grammys, and, most recently, David Bowie and Nine Inch Nails.

With a client list of that caliber, it’s clear the experience Prowda brings to the table is an invaluable commodity. “But you’re only as good as your last show,” he cautioned.

Given the fact the people he works for keep calling him back to work, Prowda evidently has very few bad shows. Case in point, his decade plus tenure with Bowie and subsequent welcome into the NIN camp, which he picked almost immediately after the Bowie show went dormant in 2004.

Currently, Prowda has been doing monitors for Reznor and company since the band’s 2005 release, With Teeth, and is the longest serving audio tech on the current tour.

Pro audio wasn’t Prowda’s first career option, however.

As a student at Syracuse University, Prowda studied architecture – a safe, traditional career choice, which came with a safe, traditional lifestyle.

But after watching the load out for The Band after a show he’d attended in the early ’70s, a light bulb went on, he says. “That’s when the realization hit me – There’s a whole different way of going through life. There are no rules.”

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Having said that, his family’s love of music did have an effect on his future; his father, a drummer/businessmen, and his brother, an avid music fan, were huge influences.

“Both our parents worked, which was unusual for the time, and we had sort of a nanny, and her kid was into Elvis and we just listened – we were really into music – Elvis, the Beatles, the vocal bands of the ’50s and ’60s.”

During college Prowda started mixing local acts, but his first full time gig at a pro audio company was with All American Sound in Syracuse, under General Manager Will Perry.

“It was the first opportunity I’d had to work with pro gear,” he said. “A real monitor board, which, back then, was 16 inputs, 8 outputs. That was huge.” He stayed in Syracuse until 1978 and then went west to work at Bill Graham’s FM Productions in San Francisco before moving to his current home base of Owings Mills, MD, in 1980, to work with Perry again, this time at Maryland Sound.

Most of his 30-year career, however, has been spent on the road. As his career progressed, he became increasingly intrigued by in-ear technology and the application of his Front of House chops to stage sound.

“Early on I did some Front of House gigs, but from the early ’80s I started going towards monitors. It’s a whole different vibe on stage. There’s an intimacy with the artist, especially doing in-ears,” he explained.

Regardless of the demands of the production, or the profile of artist he’s working with, “my most successful mixing experiences are those that, if it sounds good to me and it sounds good to them, then we’re on the same page,” Prowda said.

Achieving that intimacy is, first and foremost, about being a good listener. “It’s the premise of the whole deal,” he noted. “I think there are engineers who need to listen more – go to a symphony show, to be open, to listen to what a cello sounds like, to listen to all different kinds of music.”

While NIN has gone through a variety of permutations of monitor systems, the latest iteration involves a very clean stage.

Still, this latest tour, Prowda said, has been particularly intense. “I turn 56 in July, it’s a push for me.” It’s an intensity that comes from the top down, he added, but one that inspires him to constantly better his craft, balancing the demands and limitations of the technology while achieving the most productive and transparent dialogue with the band possible.

Regardless of the artist, or the genre, he said, “I’ve always taken a simplistic approach. A good balance is a good balance.”

That simple statement says a fair bit about Prowda’s approach to life in general. A good balance, he implies, is key not only to success within the lifespan of a given project but long term, on and off the road.

Between tours he comes home to his two-acre spread in Maryland, where a state park starts, essentially, where his backyard ends. There, he said, he chills, gardens, works around the house – enjoying a certain comparative isolation that helps offset the rigors of near constant touring.

Even with balance, the road does get wearing sometimes, but there are always those “moments of clarity” on tour that leave no doubt in his mind that he’s in the right place, in the right business. “You look out, you see the crowd, step back and see where you are – that reassures me that I’m doing the right thing.”

As intense as the schedule, music and production are with NIN, there’s also a certain familiarity to the gig for Prowda, both in terms of his personal longevity with the band and the tools he’s using. “Basically every gig I’ve done since I started with NIN has been on a Digidesign Profile or Venue.”

Beyond the console’s concise footprint, it’s functionality suits Prowda’s approach as much during pre-pro as it does on tour. “This situation, we’ve had the luxury of long rehearsal periods,” beginning in April 2009, he explained.

During that time Prowda used the console’s playback functionality to do a great deal of extra curricular listening prior to and after rehearsals – tweaking sounds he felt were close to get them even closer to what he was trying to achieve, and what he knew the band required.

“I’d make adjustments on a song-by-song basis using the technology of the mixing platform, and, generally, by the time we hit the road, we’re pretty much dialed in.”

Regardless of how dialed in he is ahead of time there are always challenges – “The whole RF thing has turned into a whole other job tacked onto what used to be just being a mixer.”

But Prowda has the benefit of long experience in weathering the changes in the audio industry and brings a unique perspective to what is a rapidly evolving gig. “With the Grateful Dead, you’d design and build a system for a gig.” There’s always a big learning curve, but his approach to any challenge is characteristically simple – “Do some research and figure it out.”

Being single-minded and focused while remaining open to new experiences is key.

“Doing NIN, I’ve had so many instances where I’ve gone, ‘You know what? I’ve never had that happen before’ – and I’ve been around for a while. The thing about audio is that you never know everything. If you think you do, you’re destined to fail.”

Based in Toronto, ON, Kevin Young is a freelance music and tech writer, professional musician and composer.

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Blue Microphones Names Industry Veteran John Maier As Chief Executive Officer

In addition to Blue's pro audio product line, Maier will oversee the company's growing consumer electronics product lines as well as entry into new markets

Blue Microphones has named industry veteran John Maier as chief executive officer, following nearly seven years as CEO of TC Group Americas where he worked with such brands as Tannoy, TC Electronic, Lab.gruppen, TC-Helicon, Dynaudio Acoustics and Linn Electronics.

Maier joins Blue with the charter of building on 15 years of success and recent exponential growth following their acquisition last year by private equity firm Transom Capital Group.

In addition to Blue’s pro audio product line, Maier will oversee the company’s growing consumer electronics product lines as well as entry into new markets.

“While recent efforts to strengthen our infrastructure and accelerate product development have really grown the business over the past year, we think we’re just scratching the surface,” said Russ Roenick, Director at Transom Capital Group. “Now is the perfect time for someone with John’s experience and know-how to capitalize on the work we’ve done and lead our growth going forward.”

Maier brings extensive audio industry experience and success to his new position. In addition to his time with TC Group Americas, he has spent time in the retail side of the industry as pro audio buyer for Guitar Center and gained valuable sales and marketing experience in director positions at Alesis Electronics and Sound Marketing.

Maier holds a Business Management degree from California Lutheran University.

“It’s been exciting to watch Blue’s growth and innovation over the years,” said Maier when asked about his new position. “I’m looking forward to the challenge of leading the company through this next phase of growth.”

Maier will be based in Blue Microphone’s Westlake Village, California headquarters.

Blue Microphones Website

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Meyer Sound To Host Audio Seminars In Mexico, U.S., Canada, Germany, Spain, Italy, & Netherlands

Seminars will cover core audio principles encompassing sound system design and alignment, line array theory, equalization, delay, and acoustical prediction

Meyer Sound has announced its international education schedule for August to October 2009, with seminars to be held in Mexico City; Toronto; Los Angeles; Montabaur, Germany; Seville and Madrid, Spain; Duivendrecht, Netherlands; and Osimo Stazione, Italy.

Some seminars will be taught in the local languages, including Spanish and German, and others will be interpreted in real time by qualified translators. 

The upcoming seminars will cover core audio principles encompassing sound system design and alignment, line array theory, equalization, delay, and acoustical prediction with MAPP Online Pro.

Other courses explore system measurement and optimization, FFT analysis, filters and phase relationships at an advanced level with practical reference to the use of Meyer Sound’s SIM 3 audio analyzer.

Led by an instructor force of active sound reinforcement specialists, similar sessions were hosted in recent months in Nigeria, Lithuania, France, Spain, Chile, Australia, Hong Kong, and the U.S..

Large groups of industry professionals and students took advantage of the opportunity to further their understanding of audio theory and engage in an open forum discussing the challenges and solutions in touring and other live event applications.

“Meyer Sound seminars can bring even the inexperienced users up to speed on the most important subjects in audio,” says Arturas Krasauskas, an attendee of the Line Array Design and Application seminar in Lithuania.

“My staff is now doing a better job at system design and alignment. In the long run, I think these seminars put us in a better position to achieve customer satisfaction and improve our business. It is also a great way to familiarize with Meyer systems and really hear how good properly tuned systems can sound.”

Since its first seminar in 1984, Meyer Sound has expanded the scale of its education program, including a growing international instructor base, and actively ventures new ways to meet the increasing demand for high-level training in sound reinforcement.

In addition to the mentioned curriculum, the program includes courses on audio show control with Matrix3 and the popular Mixing Workshop by veteran audio engineer Buford Jones, as well as the recently debuted Practical Training: Methods and Applications, a new seminar on the techniques to set up systems quickly and efficiently.

Meyer Sound also partners with universities and industry organizations in offering training and scholarship opportunities in conjunction with institutions such as Spain’s ESAMA.

“The international success of our program tells us that members of the audio community appreciate the importance in continuing to hone their skills and knowledge of the precision tools available to them,” says Gavin Canaan, education programs manager at Meyer Sound.

“And since the emphasis of our seminars is on science, not on marketing, and on the real world outside the classroom, we believe we are providing the industry with valuable professional development that our participants can apply in their day-to-day work.”

To find out more about Meyer Sound’s education program and register for an upcoming seminar, go to http://www.meyersound.com/education/

Meyer Sound Website

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Focusrite Now Shipping New Saffire PRO 24 DSP With VRM Monitoring Technology

VRM – Virtual Reference Monitoring – technology provides the ability for a user to mix through their choice of more than 15 different sets of commonly used professional studio monitors and hi-fi loudspeakers

Focusrite is now shipping the new Saffire PRO 24 DSP, a 16-input/8-output FireWire audio interface that features new VRM monitoring technology in addition to real-time DSP-powered tracking plug-ins, all tailor-made for the modern recording environment. 

The Saffire PRO 24 DSP completes the full lineup of four new Saffire Audio Interfaces from Focusrite including: Saffire PRO 24 at $299 U.S. MAP, Saffire PRO 24 DSP at $399, Saffire PRO 40 at $499, and Liquid Saffire 56 with 2 Liquid Channels at $999.

Focusrite’s brand new, patented VRM – Virtual Reference Monitoring – technology provides the ability for a user to mix through their choice of more than 15 different sets of commonly used professional studio monitors and hi-fi loudspeakers, in different acoustic environments and from different positions – all just using standard monitoring headphones.

VRM effectively overcomes the obstacle of getting a great mix on headphones by providing multiple perspectives on a mix, as if the user were actually listening to a variety of studio monitors at various volume levels, but without having to wake the neighbors!  VRM technology makes Saffire PRO 24 DSP the only interface capable of simulating over 100 different monitoring scenarios, perfect for mixing any time, anywhere, and regardless of the surroundings.

Focusrite has crafted the Saffire PRO 24 DSP’s two mic pre-amps to capture every subtle nuance of an audio source. High-quality digital conversion and JetPLL jitter elimination technology ensure pristine audio quality as audio flows between the analog and digital domains.

The Saffire PRO 24 features the DSP-powered Focusrite Studio Suite, Compression, Gating, EQ, and Reverb plug-ins for latency-free, professional tracking solutions, perfect for compressing a bass during recording or providing reverb in a vocalist’s headphones. Plug-ins are also available in VST/AU format for use within DAW software.

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24 Inputs and outputs include 2 Focusrite mic-pres, 2 additional analogue inputs, 6 analog outputs, ADAT inputs (for expanding the interface with, for example, Focusrite’s OctoPre), stereo S/PDIF I/O and 2 virtual ‘loopback’ inputs for routing digital audio between software applications – ideal for capturing online audio. Front panel 5-LED metering for each analogue input offers accurate viewing of levels.

Focusrite’s established Xcite+ bundle is also included. The bundle features Ableton Live 7 Lite (for recording, performance, and composition), Novation’s Bass Station soft synth and over 1GB of royalty-free samples from Loopmasters and ‘Mike the Drummer’.

Focusrite Website

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Thursday, August 20, 2009

Cakewalk Announces the 2009 SONAR V-Studio Summer Tour

Attendees can also pre-register to win a $100 gift certificate to the retailer hosting the event

Cakewalk has announce its latest clinic tour during which the company will be exhibiting its new digital music production system, the SONAR V-Studio 100 and, in some locations, the SONAR V-Studio 700.

These events will be held at retailers across the United States — including Best Buy and Guitar Center — and attendees can pre-register to win a $100 gift certificate to the retailer hosting the event.

The cornerstone of the tour is the SONAR V-Studio 100, which combines a powerful Audio/MIDI interface, a control surface, a digital mixer, and an SD WAVE recorder.

Compact and portable, the VS-100 is great for laying down tracks or capturing an idea on the road. VS-100 works with both Mac and PC and all major DAWs.

The SONAR V-Studio 700 is the head of the V-Studio product-line and will be making appearances at various stops on the tour. Matching SONAR 8 Producer with the VS-700 Console, the V-Studio 700 offers an outstanding solution for music production through a complete offering of finely-tuned and tightly-controlled hardware and software.

The VS-700 also includes the VS-700R I/O, the Roland Fantom VS synth and Cakewalk’s award-winning instruments, Rapture and Dimension Pro.

Tour dates announced to this point:

Thursday, August 27, 2009
Pro Sound
4593 Mission Gorge Pl.
San Diego, CA
(619) 583-7851
Time: 7 - 9 pm

Thursday, September 3, 2009
Best Buy Tukwila (Store 447)
17364 Southcenter Pkwy
Tukwila, WA
206-574-4617

Thursday, September 10, 2009
Performance Audio
2456 S. West Temple
Salt Lake City, UT
Time: 7 - 9 pm

Thursday, September 17, 2009
Best Buy Dublin (Store 134)
4820 Dublin Blvd
Dublin, CA
925-829-7041

Thursday, September 24, 2009
Best Buy Westminster (Store 209)
9369 Sheridan Blvd
Westminster, CO
303-426-4434

Saturday, September 26, 2009
Big Dude’s Music City
3817 Broadway
Kansas City, MO
Time: 11 am - 1 pm

To register and for more information, including new tour date announcements, go to http://www.cakewalk.com/Events/tour.asp

Cakewalk Website

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Northbrook Theater Youth Shows Utilizing AKG DMS 700 Professional Digital Wireless Systems

Performing Arts Supervisor Kurt Ottinger needed a system that came complete with battery life indicators on all receivers, frequency scanning with error indicators and the ability to synchronize receivers with the transmitters

The Northbrook Theater in Northbrook, IL, has selected AKG DMS 700 digital wireless microphone systems to play a role in all 12 of its annual productions.

The 300-seat theater recently upgraded to the DMS 700 systems, incorporating 12 DSR 700 receivers, 10 CK 77 Microphones, and 25 DPT 700 bodypacks.

The theater is using AKG’s digital wireless system to drive a series of performances put on by youth, for youth.

Performing Arts Supervisor Kurt Ottinger needed a system that came complete with battery life indicators on all receivers, frequency scanning with error indicators and the ability to synchronize receivers with the transmitters.

Additionally, with the encryption function that comes standard on every DMS 700, the system is able to offer Ottinger’s productions the necessary security for sensitive audio transmissions.

And with its ultra-wide tuning range he can operate up to 100 channels simultaneously, allowing each production to include as many performers as needed.

“The superior reliability of the WMS 4500 convinced me to be comfortable in purchasing the DMS 700,” Ottinger said. “I knew that it would give me the most value for the money spent; it’s versatile enough for any performance, from concerts to plays, and it’s sensitive enough to pick up even the most quiescent of performances.”

One feature of the AKG DMS 700 that is unique is that its digital audio transmission is able to eliminate distortion and noise and alleviate bad audio performance resulting from low RF link quality, which is one of the major reasons that Ottinger selected it.

Having previous experience with the AKG WMS 4500 led Ottinger to continue on with the new digital DMS 700 system, knowing the premium audio quality and ease of use that comes with AKG products.

“For a theater like ours that hosts such a wide array of performances, the DMS 700 is exactly what we needed,” Ottinger continued. “We have kids as young as 6 and adults of all ages using these mics for all different types of performances, and regardless of the production, the DMS 700 exceeds expectations every time.”

AKG Website

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Harman Professional Names Hi-Tech Audio Systems As Its Authorized Distributor For India

Hi-Tech Audio Systems’ award-winning team of 65 engineers and executives is highly experienced in the Indian professional audio market

In a move to provide professional audio customers and dealers in the India market with comprehensive sales and support services, Harman Professional has announced the appointment of Hi-Tech Audio Systems as the authorized distributor for India.

According to Harman Professional Regional Sales Director Sushil S. John, today’s announcement underscores Harman Professional’s commitment to evolving and improving its service of the professional audio community in India.

Headquartered in New Dehli with satellite offices in Noida and resident engineers based regionally throughout India, Hi-Tech Audio Systems was established in 1990 by PK Gupta, Director and Rajan Gupta, Director.

Hi-Tech Audio Systems’ award-winning team of 65 engineers and executives is highly experienced in the Indian professional audio market, having led many major fixed installs, live sound and recording and broadcast projects and also having previously served a host of other leading manufacturers.

“As India’s creative community continues to export high-quality, lasting content, the professional audio community here is pushing new boundaries in cinema, post production, recording and live sound. Harman is committed to supporting the community with new products that are similarly innovative and high-performing and in Hi-Tech Audio Systems we have found a strong and capable partner,” John said today.

David McKinney, Harman Professional’s Senior Director of Sales for Asia concurs, “We are working closely with Hi-Tech Audio Systems right now to restructure our dealer network across India to ensure we cover every state and provide a high level of both sales and technical support across India.

“This is the first step in a number of positive changes and enhancements we will be implementing with Hi-Tech Audio Systems,” McKinney noted.

Rajan Gupta, Director of Hi-Tech Audio Systems, comments “We have been working towards this moment for a long time. It is an honor to be chosen as the authorized distributor for this great family of brands. We have been expanding our company over the last few months and will be ready to take full advantage of the opportunity.

“There is a large number of new products in the pipeline from all the Harman Professional brands, which provides us many opportunities in the near future. All of us at Hi-Tech Audio Systems are excited about the new future that lies ahead.”

The appointment of Hi-Tech Audio Systems follows the recent opening of Harman International offices in Bangalore.

Harman Professional Website

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SSE Audio Group Adds DiGiCo SD7 Digital Console To Its Inventory

“With the addition of the SD7, we probably offer the largest choice of digital consoles of any European rental company." John Penn, SSE Audio Group

Leading European rental company SSE Audio Group has invested in a DiGiCo SD7 to add to its extensive stock of high-end sound equipment.

Managing Director John Penn, explains the decision: “Since we invested in DiGiCo D5s in 2004, they have been consistently in demand and very reliable. The low cost of ownership, coupled with these factors, has made the consoles produce a great return on what we initially perceived as a high investment cost.

“We have kept an eye on the SD7 since the prototype was launched in 2007.We decided it was the right time to add it to our extensive digital console stock and get ourselves trained up in its operation and maintenance ready for the busy autumn touring schedule.”

“We are very pleased that SSE has purchased the SD7, which was out working for them before they even took delivery of it via a sub-rental contract for the Montreux Jazz Festival in July,” adds DiGiCo Managing Director James Gordon. “We feel that SSE’s commitment opens up the console to a different and wider market. We hope this will be the first of many such purchases and see it as an excellent way of DiGiCo strengthening its relationship with John and the SSE team.”

“With the addition of the SD7, we probably offer the largest choice of digital consoles of any European rental company,” concludes Penn. “It is a great marriage with our new L’Acoustics K1 system and is in line with our policy of providing our customers with the widest selection of tools enabling them to choose the product that best suits the way they want to work and get the job done.”

DiGiCo Website

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“The Complete Front of House Engineer” Seminars and Workshops Slated For September

Learn advanced live sound techniques from legendary engineer Robert Scovill; five days of classes and workshops beginning September 14 in Missouri

The acclaimed seminar series “The Complete Front of House Engineer” is back for 2009, scheduled to be presented in partnership with Church On The Rock in St. Peters, Missouri, beginning September 14, 2009.

The Complete FOH Engineer seminars were formed in 2000 by 6-time TEC Award winning engineer Robert Scovill, and since that time, he has developed the series into a tour de force of workshops aimed at engineers and mixers who enter with a wide breadth of experience looking to elevate their skill sets in live sound. 

“My agenda is to expose sound reinforcement pros and semi-pros alike to professional concepts and techniques that they can employ on today’s technology in order for them to develop a “method” for attaining the results they desire in their day to day work,” Scoville explains. “Be it for touring, night clubs, pro AV work or houses of worship, the seminars are strongly rooted in audio fundamentals with an emphasis on understanding the “why” rather than just the “how” to do a given task.”

“I don’t want to be in the business of building ‘paint by numbers’ engineers,” he continues. “I would much rather have them walk away from these seminars with the ability and the desire to analyze a problem and then creatively and correctly solve it, rather than simply applying a technique just because someone else did it at some point in the past.

“Clearly, the class hits a ‘sweet spot’ between application of technology, artistic expression, and the integration of both. The comments we get from attendees and the results they see in their career trajectory speak for themselves and are the best affirmation of our approach that we could ever want.”

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This year’s workshops will be held at Church On The Rock in St. Peters, Missouri. The choice of this host venue is far from random as the head audio engineer for this facility is Eric Chancey, an engineer who attended the very first Complete FOH Engineer workshops in 2000.

“I’ve had the privilege of attending The Complete FOH Engineer three times over the years and frankly I’ve learned something new each time,” Chancey states. “In the classes, I was made aware of concepts and techniques that have completely changed the way I work and it has had a direct impact on my success, especially here at Church On The Rock. It’s really refreshing to see someone with Robert’s background who understands the church dynamic so well.

“It’s evident from day one that Robert is as fluent in the house of worship world as he is in traditional concert sound and it’s a huge asset for the attendees,” Chancey adds. He can move effortlessly between those worlds and demonstrate where they converge and diverge. That kind of insight is something you won’t often see in professional audio.”

The five day event will offer the following classes and seminars:
—September 14, Digidesign VENUE Training
—September 15, Introduction to FFT Analysis
—September 16 - 18,  The Complete FOH Engineer Seminar

The Complete FOH Engineer schedule (Sept 16-18):
—Day one, dedicated to PA systems management and operation
—Day two, dedicated to console management and processing concepts
—Day three, dedicated to mixing and processing techniques and live recording

Attendees should enroll with basic knowledge of console and sound system operation and have some experience using outboard devices such as equalizers, compressors, gates, and other analog and digital processing equipment.

Registration is now open, and there are early-bird as well as group discounts along with discounts for bundling two or more of the classes and seminars together.

Transportation from select hotels and catering is provided for the duration of the events. Seating is limited.

For more information, go to www.proaudioseminars.com

The Complete FOH Engineer/Pro Audio Seminars Website

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Wednesday, August 19, 2009

Univision “Premios Juventud” Awards Show Features Sennheiser Chrome Wireless

Over 80 wireless channels were used for the podium mics and most of the monitoring at the show

The recent sixth-annual Univision “Premios Juventud” awards show utilized Sennheiser’s wireless technology to recognize the U.S. Hispanic youths’ top recording artists, movie stars, sports figures and pop culture icons.

Over 80 wireless channels were used for the podium mics and most of the monitoring.

Stylized performances from long-time favorites and up-and-coming celebrities punctuated the announcements, with reggaeton star Alexis y Fido performing with a pair of chrome-customized Sennheiser SKM 5200 wireless mics.

“Whereas most awards shows feature performances that include a little bit of stage scenery, things are a lot more intense at ‘Premios Juventud,’” said broadcast mixer Tom Holmes. “All of the performers are going for full vignettes to help create a mood and a story.

“Alexis y Fido asked us for ‘futuristic looking’ mics to go with their futuristic theme. I asked a few mic manufacturers, and Dawn Birr at Sennheiser was the first to respond and the only one to respond with a range of options. Although we were given the choice of gold, silver, and jewel-encrusted ‘bling’, the futuristic chrome on the Sennheiser SKM 5200 turned out to be exactly the sort of thing they were looking for.”

Like any awards show these days, “Premios Juventud” is awash in RF signals – each of them critical. Both of the podiums used two Schoeps microphones tied to a pair of hidden Sennheiser SK 5212 body-pack transmitters.

“Obviously, dialog is very important to TV people,” laughed Holmes. “We had to go with the best to ensure that there would be no dropouts.”

James Stoffo of Professional Wireless Systems, who handled critical wireless issues for the show, specified a rack of Sennheiser EM 1046 receivers, the company’s top-of-the-line modular receiver and serves as the complement to its high-end 5000 Series transmitters. “Stoffo knows more about RF than anyone I’ve ever met, and he swears by the 1046, both for its reliability and its sound,” said Holmes.

In addition, almost everyone that performed used 300 IEM G2 personal wireless monitoring systems from Sennheiser. “There was a lot going on,” said Holmes, “so we were glad that we didn’t have to worry about our wireless reliability. With Sennheiser, you do your preparation, lock things in, and roll.”

Sennheiser Website

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A Widely Distributed PA In Paris To Bring A “Home” Message To The Masses

Inside the extensive sound reinforcement system for the screening of the film "Home" in Paris’ Champ De Mars

It’s hardly rare to hear the words “major motion picture event” applied to a summer film.

Visually stunning or not, whether it’s the latest Hollywood biopic, all-star comedy or action adventure, the phrase is attached to big budget summer flicks so permanently and casually that we hardly take notice.

In the case of director Yann Arthus-Bertrand’s environ-epic “Home”, however, that phrase actually rings true…

Produced by Luc Besson and backed by PPR, a French holding company that specializes in some of the world’s most recognizable luxury brands, including Gucci, and Yves St. Laurent, “Home” captures the impact of human activity on earth from the skies above 56 countries in hi-definition, providing viewers with a bird’s eye view of both the wonders of our Earth and the wounds we’ve inflicted on it.

Coming out this past June to coincide with World Environment Day, the release of “Home” was an event – the first major motion picture released free of charge on both Youtube and television, as well as in theaters in over 50 countries simultaneously.

To celebrate and promote the film, a free screening, complete with speeches by Arthurs-Bertrand and producer Besson, was also scheduled for the evening of the release in Paris’ Champ De Mars, in the Shadow of the Eiffel Tower itself.

For the audience, the visual focal point was clear, a 20 x 8.5-meter (66 x 28-foot) screen suspended nearly 3 meters (10 feet) above the ground.

But the film’s images were so strong, says Didier Dal Fitto of DV2 of France and designer of the event’s audio system, that even on the small screen the power of the film and its message were incredibly potent. So much so that when the crew staging the event began to watch a short cut of Home on a Macbook following a six-hour pre-production meeting, “suddenly, everybody shut up,” he said.

To fully communicate that power to the audience at Champ de Mars as well as speak to the considerable challenges of the venue, Dal Fitto employed a similar concept that he’d utilized previously at a one-man show at the Stade de France with a similar capacity of 55,000.

Based around eight towers of line arrays incorporating 64 Adamson Y18s, the system was designed to provide “sync” sound to image for an audience divided into four areas across the Champ de Mars. Each area was covered by two towers of Y18s, at a 12-meter (39-foot) trim height, and spaced 43 meters (141 feet) apart along the length of the venue.

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The system also incorporated a Yamaha 01V digital console for monitoring, a Midas XL88 matrix mixer at Front of House, Lab.gruppen fP Series amplifiers, AES transport through EtherSound Ethernet-based audio transport and Wi-Fi multipoint access for XTA control.

To ensure the event went off without problems, even if the main system failed, in addition to providing audio – and video – via an AES output from a double HD image media server to preserve audio integrity, Dal Fitto also included a standard analog backup safety network as a fail-safe.

For his part, Dal Fitto is no stranger to Adamson loudspeaker technology. In addition to other projects he’s used the Port Perry, ON-based, Canadian manufacturer’s technology, it was a key component in 2008’s semi-permanent install at the Gardens of Versailles, a project covered in the December 2008 issue of Live Sound International.

“The Y18 low end capacity is amazing,” said Christian Malcurt, who aided Dal Fitto in the design and was project manager of the temporary installation. “It’s the only system in the world that provides this kind of response.”

Beyond that, Malcurt added, given the amount of time allotted for set up, the Adamson boxes were less time consuming to install than other brands that might have been specified instead.

After first discussing the project in December 2008, the two worked in tandem on the concept for two weeks over the course of March and April 2009.

When the final layout was fixed, Dal Fitto introduced Malcurt to system engineer Julien Poirot, and the three approached French equipment supplier Lagoona about providing the Adamson rig.

Installation began with the construction of the eight mega-tower trusses. By that evening the PA and network were fully operational and ready for tuning, which, by noon the day of the screening, was virtually finished – a process made more fluid owing to the initial predictions done with Adamson’s proprietary Shooter software, stated Dal Fitto.

In addition, the multiple Wi-Fi access points on site allowed techs the freedom and control to save and recall their settings, as well as to make accurate comparisons quickly using a tablet PC and the Waveform drive rack concept, courtesy of Poirot’s company, Waveform Audio. This allowed some time in the afternoon for a final fine-tuning of the EQ and delay settings between towers.

The main challenge, however, Dal Fitto explained, wasn’t the brief timeframe allotted for the installation and tuning, but the dimensions of the venue. In any large outdoor space, intelligibility is always a major concern, but here, owing to the size of the venue and the importance of the film’s message, even more so.

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Specifically because of a L/R distance of roughly 40 meters (131 feet) between the arrays and the potential for L/R time smear, as well as the maintenance of maximum synch and intelligibility across a distance of 161 meters (528 feet).

With far-field accuracy, high SPL and wide horizontal coverage, Adamson’s Y18 lends itself well to this type of challenge.

“We used the Y18 in full-range mode because we needed the best directivity control in the low end to avoid subs on the ground,” Dal Fitto said. The system was augmented with eight Adamson SpekTrix boxes, utilized as front fill for a dedicated VIP area located in the first 10 rows of the audience.

For optimum synchronization of the line arrays, and to cover the four independent and adjacent zones without delay over the entire scope of the area, some finesse was required.

Dal Fitto explained: In zone 1, the VIP area, delaying two frames to compensate for the 18-meter (59-foot) distance from the screen to the beginning of the first row; then, for each of the following zones, placing the towers exactly 43 meters (141 feet) apart, and using a 40 ms delay between each to come in under the maximum acceptable delay between sound and image.

“We used the full performance of the focal energy of the appropriate zone and the maximum rejection of the previous and following zone. This residual energy of direct signal is achieved in a temporary ‘window’ within 80 ms, compared to the original signal,” he said.

“Home” isn’t the kind of film you can watch impassively, and its visuals of require little in the way of audio accompaniment to underscore the film’s basic message.

Still, without the clear and accurately synched counterpoint of composer, Armand Amar’s moving score, and the film’s matter of fact narration, which catalogs both the wonders of our planet and the wounds we’ve inflicted on it over the past half-century with equal measure, Home’s emotional impact would be greatly diminished.

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The degree of care Dal Fitto and company brought to the project makes it clear that impact, and the significance of the event at Champ De Mars wasn’t lost on them in the least.

And while doubtlessly they apply the same care to all of their projects, you get the sense that this event truly had an impact on everyone involved that goes well beyond the usual satisfaction of a job well done.

(To screen Home, visit www.youtube.com/homeproject.)

Based in Toronto, ON, Kevin Young is a freelance music and tech writer, professional musician and composer.

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Inside BB King’s New High-Tech Tour Bus

AV backbone includes seven miles of of cabling and five miles of Cat5 wiring

CE Pro is currently featuring a very interesting feature article and slideshow gallery offering a detailed look inside the new tour bus commissioned by legendary blues guitarist BB King as he continues to perform at least 100 live concerts a year.

The $1.4 million, 45–foot luxury motorcoach has more than $200,000 worth of electronics inside, making it a center of inspiration for laying down tracks, reviewing audio and video, keeping up to date on news and communicating with his fans and crew.

CE Pro focuses on the A/V setup implemented within the bus, which includes seven miles of of cabling from Liberty Cable, five miles of Cat5 wiring and 3,000 feet of CresNET.

Click here to read the feature article for full details.
Click here to go directly to the slideshow gallery.

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Shure Hosts Three Legendary Producers For Grammy “Soundtable” Event

Mike Clink, Ron Nevison, and Keith Olsen share stories from “Behind the Glass”

The Chicago Chapter of the Recording Academy invited legendary producers Mike Clink, Ron Nevison, and Keith Olsen to participate in a GRAMMY “Soundtable” event entitled “Behind the Glass,” a discussion recently hosted by the Recording Academy and Shure at the new S.N. Shure Theater at the company’s corporate headquarters in Niles, Illinois.

“This was one of the most gratifying experiences I’ve had, personally and professionally, in my 20 years working at Shure,” said Mark Brunner, who moderated the discussion with the three panelists who have worked with artists ranging from The Rolling Stones and Fleetwood Mac to Guns N’ Roses and Led Zeppelin. 

“Some pretty serious homework was required to prepare for this because, together, these three guys have engineered, mixed, and produced a catalog that has achieved more than 300 million units sold – a staggering number and a testament to their longevity in the business.”

As Brunner engaged with Clink, Nevison, and Olsen during the evening, samples of their most notable work were played, followed by a lively discussion where the three spoke candidly about their experiences in the studio and shared insights with the almost 150 attendees.

“This was a wonderful event, and I know the panelists and attendees were thrilled with how the evening went,” said Maureen Droney, Senior Executive Director of the Recording Academy’s Producers & Engineers Wing. “The S.N. Shure Theater is an amazing venue, and it was a real pleasure to hear the music played back sounding just as its creators intended.”

Shure Website

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Worship Facilities Conference & Expo Announces 2009 Awards Program For WFX Charlotte

Submissions are being accepted for distinguished New Product and Solomon Awards

Worship Facilities Conference & Expo (WFX) has announced its distinguished awards program for WFX Charlotte, scheduled to take place October 27-30, 2009 at the Charlotte Convention Center in Charlotte.

Both in their fourth year, the 2009 WFX New Product Awards and WFX Solomon Awards recognize outstanding achievements in church facilities and audio visual projects, as well as the multitude of products that make them happen.

The 2009 WFX New Product Awards, presented by Church Production and Worship Facilities magazines, recognize the accomplishments of companies who have developed new buildings or technology products for the house of worship market.

Entrants will gain strong exposure among qualified WFX attendees – 70 percent are members of churches that are planning a building project.

The Solomon Awards are designed to recognize churches and their partners for excellence in facilities design, building, operation, use, and technical production. In response to significant budget and church size restraints based on seating capacity, a selective number of awards will be presented within designated size categories.

The WFX awards program will offer a powerful, multifaceted promotion and publicity program before, during, and after the event. All entrants will receive exclusive benefits, including: logo, company name, URL, and description on WFX website; highly-read coverage online at http://www.wfxweb.com, http://www.churchproduction.com, and http://www.worshipfacilities.com; and company listing in Church Production and Worship Facilities magazines. Finalists will receive additional recognition onsite in a dedicated awards display area and in the WFX Show Directory.

2009 WFX Awards winners will receive a personalized award; recognition in an onsite announcement at WFX Charlotte; additional coverage in a dedicated press release and online at http://www.wfxweb.com; coverage in Church Production Magazine and Worship Facilities magazine; and permission to use ‘Winner’ logo on marketing pieces.

Churches of all sizes are encouraged to apply online at http://www.wfxweb.com/features/awards-program. Winners will be announced during WFX Charlotte. The deadline for submission is August 28, 2009.

For questions on either awards program, contact Danielle Cushion at .(JavaScript must be enabled to view this email address)

Worship Facilities Conference & Expo Website

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Tuesday, August 18, 2009

127th AES Convention Names Peabody Winning Broadcaster Bill McGlaughlin As Keynote Speaker

McGlaughlin to offer observations on talent/engineer symbiosis

Peabody Award-winning radio personality William “Bill” McGlaughlin has been named Keynote Speaker for the upcoming 127th AES Convention.

The long-time host and music director of American Public Media’s popular Saint Paul Sunday public radio program McGlaughlin is a highly regarded broadcaster, educator, composer and conductor.

In making the announcement, Convention Chair Agnieszka Roginska remarked, “While the focus of our conventions are largely technical in nature, we are delighted to provide our attendees with an opportunity to enjoy a discourse by a broadcaster celebrated for his performance behind the mic rather than behind the control room window.”

Entitled Talent Doesn’t Push Buttons, Mr. McGlaughlin’s address will consider the relationship between the on-air talent and the audio engineers who insure the high-quality sound and technical support that contribute to a program’s long-term success.

In 2003 McGlaughlin began hosting Exploring Music a WFMT daily radio program showcasing great works of classical music. Every week the widely popular show explores a single classical music theme in hour-long daily episodes. 

McGlaughlin’s unique brand of information-laced enthusiasm has drawn praise for instilling a sense of classical music appreciation within an audience that has grown to over 500,000 listeners.

Beyond his career as a broadcaster and music educator, he is an accomplished orchestral musician, classical composer and conductor.

In 2004 Exploring Music garnered McGlaughlin, the Lifetime Achievement Award from Fine Arts Radio International.  He has co-hosted the nationally syndicated radio series Center Stage from Wolf Trap since its inception in 1999, and since 2007 has hosted the nationally syndicated Concerts from the Library of Congress radio series.

Among his many awards and honors are five ASCAP Awards for Adventurous Programming; the 1990 Deems Taylor Award (ASCAP) for Saint Paul Sunday; a 1990 Honorary Doctorate from Westminster College; and a 1995 Peabody Award for Saint Paul Sunday.

The 127th AES Convention will be held Oct. 9 – 12 at New York’s Javits Center.

AES Website

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