Monday, November 29, 2010
Linkin Park Utilizes Adamson Systems Arena Rig For Award Winning Show
All Adamson speakers are powered by Lab.gruppen amplifiers.
Linkin Park recently accepted an award for ‘Best Live Act’ at the 2010 European Music Awards held in Madrid, Spain on November 7, 2010.
The band has been touring on a large Adamson systems arena rig on their two previous two world tours, ‘Minutes to Midnight’ and ‘Project Revolution’.
The ‘Best Live Act’ award was accompanied by a live performance of ‘Waiting for the end’ at the Award ceremonies.
The award was accepted by the ever band who not only thanked their entire production crew, which includes award winning FOH & Monitor Engineers ‘Pooch’ Van Druten and ‘Tater’ McCarthy, but also invited the crew to join them on stage to accept the award.
Linkin Park is currently supporting their new album ‘A Thousand Suns’ which is traveling Europe and will kick-off its North American segment in Sunrise, Florida on January 20th, 2011.
Their current arena rig consists of a L&R main hangs, each made up of 16 Y18, with an underhang of four Y10’s.
Nine T21 Subs are flown beside the main system L&R hangs, with four T21 Subs supporting on the ground. There are down fills made up of 12 Y10’s, and another 32 Y10 cabinets for out fills.
In addition, the design features 24 SpekTrix & four SpekTrix W’s as rear and front fills. On stage, Tater McCarthy uses 14 M12 monitors, and SX18 cabinets as side fills. All Adamson speakers are powered by Lab.gruppen amplifiers.
Adamson systems Website
Church Sound Basics: Test Your Cables On A Regular Basis To Ensure Reliable System Performance
A $10 microphone cable was compromising the sound of our $30,000 grand piano. Sound familiar?
Operating the sound system from the mix position during a recent Sunday worship service, it all began when the first note from our grand piano was distorted.
We’d checked the piano channel and sound prior to the service, and all was fine.
My first reaction to the distortion being produced was to reduce the gain on that console channel, thinking perhaps the piano player was nailing the keys very hard.
Yet the problem remained. Next, I did a pre-fade listen (PFL) in my headphones – yes, it was definitely distortion on the piano channel, no question about it.
To capture sound from this grand piano, we use a magnetic pickup from Helpinstill Designs, which sends the original vibrations of the strings (the source of the piano’s sound) directly to the mixing console.
If you’re struggling to reproduce a full, natural piano sound these pickups are definitely an option to consider.
Anyway, my next thought was that someone had accidentally bumped the pickup so that it was hitting some of the strings. Oh well, nothing could be done until the service ended, so I just did my best to work around and minimize the problem.
But a quick look immediately after the service showed that the pickup had not been disturbed.
Finding nothing else visibly wrong, we set up a few microphones to capture the piano in case we encountered the same problem during the next service, scheduled to start in less than 30 minutes.
Sure enough as the service began, here it came again - big-time piano distortion!
We quickly switched over to the backup mics, which covered us without major incident.
However, how I was perplexed and facing a challenge. What could it be? Perhaps the pickup unit itself was failing – my most logical guess at this point.
Prior to that evening’s service, we needed to move the piano to a different location on the platform.
Looking at the microphone cable connecting the pickup to the XLR jack in the floor box, it finally dawned on me to check that cable. Sure enough, it was going bad.
Thus, a $10 mic cable was compromising the sound of our $30,000 grand piano fed to our professional caliber sound system!
It often is the simple things, isn’t it? And yet another hard-earned lesson for yours truly.
To avoid this disruptive and embarrassing problem, I’ve made the conscious decision to invest in better cables.
Also, I’ve found it extremely helpful to regularly (say, once a month) check the performance of each one with another small investment: a cable tester.
The truth is that our church already owns a very good cable tester made by Whirlwind (called, appropriately enough, the TESTER).
However, I’d simply fallen out of the habit of using it regularly. Big mistake.
There are many models of cable testers available, and most are very simple to use and understand. The single most important factor when it comes to cable testers is usability.
If the model you’re considering can test the cables you regularly use, then it doesn’t matter what brand it is. But, bear in mind that a suitable model can easily be had for under $100.
Here are a few things to look for in a cable tester. A device like the Whirlwind TESTER should be able to be interfaced with a variety of audio connectors, such as XLR, 1/4-inch and RCA.
Once connected, the tester should quickly show, via a simple read-out on the unit’s front panel, if the cable and connector are working properly. Many will also show polarity (don’t call it phase!) reversal.
A hands-free design is preferred to allow manipulation of the cable to locate intermittent problems. In particular, I wiggle the ends of the cable right next to the connector to check for intermittent problems, because this is the most likely location where they occur.
Cable testers and testing may not be one of the more glamorous aspects of audio, but it’s a bedrock that allows more visible tasks (like mixing) to occur. Why let one of the least expensive aspects of a system be its weakest link?
Has one of your services been disrupted by a single cable? Have any sage wisdom on cable testing? Let me know in the comments below!
Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.
dBTechnologies Launche New Spanish Language Website
The new spanish language site is just as simple to navigate.
dBTechnologies has announced that a full version of its website – including all product information, videos and navigational tools - is now available in Spanish.
Keeping the fresh look and intuitive structure launched earlier this year, it is just as simple to navigate.
“Working directly with employed representatives in Spain, means we have a responsibility to provide our many customers there with clear, comprehensible information, and this also extends to our website,” said European Sales Manager, Harald von Falkenstein.
“What better way than to present it in their native language? Very soon our latest news about worldwide installations will be in Spanish, too.”
It is not only Europe that benefits, explained Managing Director, Michael Herweg, “The South American market has seen incredibly rapid growth in a very short time.”
“Our distributors in these emerging markets have enjoyed unprecendented success, making it a priority that important information is made available to dBTechnologies users in the Spanish language.”
“We also want to help our Spanish-speaking friends get to know us better as a brand. So even the advertisements are in Spanish!”
DirectOut Technologies Announce The ANDIAMO MADI AD/DA
The ANDIAMO features 32 channels of audio conversion to and from MADI in a single rack unit.
DirectOut Technologies has announced the new the new 32 channel AD/DA MADI converter ANDIAMO, recently shown by DirectOut at Tonmeistertagung 2010.
Featuring high quality sound and efficiency designed in a 1U unit, ANDIAMO provides an outstanding feature set in a compact housing.
Features include 32 channels of audio conversion from and to MADI up to 96 kHz samplerate with +15 dBu output level (EBU compliant).
Redundant power supplies offer highest operational reliability.
The MADI I/O is available as optical or coaxial port and A word clock I/O rounds the feature set up.
Shipping of the ANDIAMO is planned for Q1 in 2011.
Minnetonka Audio Announces New Pricing Of Dolby E Solutions
The company is offering more Dolby E functionality while adding new crossgrades and bundles.
Minnetonka Audio Software, Inc. has announced new pricing on their family of Dolby E solutions, including standalone encoders, decoders and bundles.
In line with these adjustments, a newly announced production suite is now available which offers a simple and comprehensive entry into Dolby E workflows for a wide variety of businesses.
Helping facilities around the world to address expanding digital television requirements for Dolby E content in their workflows, Minnetonka Audio has reduced the price of their entire line of Dolby E production tools up to 43 percent.
In addition, a new collection has been created that affordably bundles all the tools a shop needs to handle Dolby E in their day to day jobs, while new crossgrade pricing helps businesses to flexibly grow their capabilities without limited licensing restrictions.
The new SurCode for Dolby E Suite combines the SurCode for Dolby E Encoder and Decoder with Minnetonka’s Audio Workflow Engine, AudioTools AWE , and their new SurCode for Dolby E Stream Player plug-in.
This suite provides real time and faster-than-real time encoding and decoding of Dolby E streams and files, while also equipping a separate operator with the ability to automatically downmix surround streams to stereo in real time with the cross-platform SurCode for Dolby E Stream Player plug-in for Avid, Final Cut, VST and AudioTools AWE formats. The Stream Player’s downmixing is an emulation of what a consumer equipped for stereo playback would hear.
Unit pricing for the SurCode for Dolby E Encoder or Decoder is now US$1975, making it easy to accommodate on any budget.
The cost of a SurCode for Dolby E Bundle, which includes an encoder and decoder along with AudioTools AWE for background/parallel processing of audio assets, has been reduced from $4499 to $3495.
The new SurCode for Dolby E Suite is priced at $3995, and adds the SurCode for Dolby E Stream Player to the above bundle. For companies who are locked in to a competitor’s more limited licensing scheme, SurCode for Dolby E Encoder and Decoder are individually available as a crossgrade for $1695.
“Thanks to the incredible success of our entire Dolby E range, we are now able to offer our retail products at a substantially reduced price.
The modular architecture of the SurCode for Dolby E line allows us to deliver scaled functionality where it’s needed most,” said John Schur, President of Minnetonka Audio Software.
“Budgets continue to shrink, but the work still must get done and, for a very modest outlay, every media producer can affordably incorporate Dolby E into their daily work flows. With the inherent efficiencies of SurCode for Dolby E along side our new pricing model, Minnetonka Audio is helping our customers to move ahead.”
Revised pricing is effective immediately. The products and packages mentioned are available now from select resellers or online at Minnetonka Audio Software.
Licenses are cross-platform and bundle/suite licenses are modular, allowing them to be assigned to separate iLok USB Smart Keys according to the purchaser’s deployment needs.
Minnetonka Audio Software Website
L-Acoustics KARA Recently Used In Budapest.
The KARA system was used at the Gospel and Soul Festival attended by nearly 10,000 visitors.
Hungarian rental company Hangharmas recently deployed its new L-ACOUSTICS KARA modular WST line source system for the Gospel and Soul Festival at the Papp László Sportarena, Budapest.
Around 10,000 people attended the event, starring the London Community Gospel Choir and Hillsong London.
The main FOH system consisted of 12 L-ACOUSTICS KARA cabinets per side, with a hang of six KIVA ultra compact units with two KILO LF extensions per side providing offstage fill.
Additionally, eight SB18 subs (four per side) were flown, with 12 SB28 subs groundstacked (four in the middle in line and two cardioid stacks at L and R ).
The entire system was driven by LA8 amplified controllers.
Hangharmas recently purchased KARA from L-ACOUSTICS’ Hungarian distributor Audmax, joining the KIVA system they already owned.
Supplementary KARA cabinets were supplied by L-ACOUSTICS Rental Network Agent Rezniczek Touring, from the Czech Republic.
DPA 4080 Microphones Selected For Mosque Installation
Almoe Abu Dhabi chose the 4080's for their audio quality and low visibility.
Midas’ newly-appointed UAE distributor Melody House recently supplied four DPA 4080 miniature cardioid lavalier mics to Almoe Digital AV Systems, for installation in the Shiek Zayed Mosque.
The mics are being used by the mullahs of the mosque for prayers.
“When comparing DPA microphones in a blindfold test, the DPA’s were clear leaders of the pack,” said Almoe’s Jason Rouzaire.
“This was a perfect microphone to use in such a high profile job.”
Combining high audio quality and low visibility, the DPA 4080 is well suited for broadcast, conference, and other live performances in the studio or in the field.
Almoe was founded in 1994 to offer a one-stop solution for audio visual and office automation products in the UAE.
Tuesday, November 23, 2010
DPA Selected As Bass Microphone By John Patitucci
Patitucci like the DPA's ability to naturally reproduce the tone of his instrument throughout live shows without constant amplifier EQ adjustments.
Multi-Grammy award winning double bass player John Patitucci has chosen a DPA 4099 instrument clip-on microphone and a 4021 compact cardioid for his live work as a member of the Wayne Shorter Quartet.
Patitucci and the Quartet’s sound engineer Rob Griffin were instrumental in providing their input to the design of the DPA 4099B for bass.
They worked together with DPA designers to develop a light, non-invasive rubber mount for the 4099, which fits onto the bass strings between the bridge and the tailpiece.
A small gooseneck fitting allows for greater flexibility in moving and positioning the mic into different positions in relation to the top of the bass. Griffin’s FOH mix is boosted by the 4021, which is also fixed to Patitucci’s bass.
“I’ve been working for years to get a natural live sound that is closer to the acoustic sound of my instrument,” said Patitucci.
“I love my DPA mics. The tone quality is very natural, even through my amplifier. It also enables me to play pizzicato or arco without ever having to change the tone controls on my amplifier.
“Rob and I also felt these mics would be the best for a live concert situation, as it’s critical to have as much signal from the bass as possible with limited leakage from the other instruments on the stage.”
Having completed a European tour with the Wayne Shorter Quartet in November, Patitucci returns to the US for a number of December dates including a week at the Lincoln Center’s Dizzy’s Club, New York, with pianist and musical director Arturo O’Farill, concluding with the Edward Simon trio at New York’s Jazz Standard, 17-19 December.
ProCo Sound, Inc. Purchased By RHC Holding Corporation
No major changes to ProCo Sound are immediately planned.
RHC Holding Corp has announced today in conjunction with their financial partners, Midwest Mezzanine Funds and Bush O’Donnell, that they have signed a definitive sale agreement as of November 19, 2010 for the asset purchase of ProCo Sound, Inc.
ProCo Sound, a Michigan-based Corporation founded in 1974, designs and manufactures cable and interfacing products servicing the Retail Music markets as well as the Pro A/V Installation and Broadcast Industries.
RHC Holding Corp. owns and operates six separate companies including The RapcoHorizon Company, which services the Retail Music market and the Professional A/V Installation Market; and Major Custom Cable, which services the DataCom and Telecommunications industries.
“No major changes to ProCo Sound or any RHC company will be implemented at this time,” said Dale Williams, president RHC Holding Corp.
“Each RHC Holding Company will champion the philosophy of providing our customers with the best value and most innovative product designs backed by the exemplar customer service to which our dealers have come to depend upon.”
ProCo Sound Website
DiGiCo SD9 Selected By David Bisbal Tour
The SD9 was a favorite for its small size and portability.
The Latin Grammy Award winning Spanish pop icon David Bisbal became a household name after he achieved the runner up position in television talent contest Operación Triunfo – the Spanish version of the UK’s Pop Idol - in 2001.
For the Latin American leg of his latest tour Sin Mar Atras, which took in a number of the summer’s festivals along the way, a DiGiCo SD9 digital mixing console, supplied by DiGiCo’s Spanish distributor Meyer Sound España, was included in the audio inventory.
Having used DiGiCo D5s and then an SD8 on previous tours, monitor engineer Alberto Liras decided to swap to the SD9, the smallest console currently in DiGiCo’s product line, for a variety of reasons.
“The SD9 I am touring with is configured with just one rack of 32 channels and 16 outputs,” he says.
“I am also using Waves Multirack installed in my PC for some FX I need in addition to those I use within the SD9.”
“The console has a stunning performance and is very easy to use and configure, which has helped me to transfer the session I used on my SD8.
“One thing I am really surprised about is the fact that the sound is exactly the same as the sound in the SD8. There is no difference in terms of EQ or dynamic range.”
“The preamps in the MADIRack and the D-Rack are one of DiGiCo’s biggest achievements. As well as the innovative internal processing they have made the audio path transparent and clean and maintained a massive dynamic range.
“Although there are limitations with FX and dynamic EQ or multiband compression when compared with DiGiCo’s SD7 for example, I have found a console that gives you everything you need for a very competitive price.”
“It provides some impressive solutions to some problems you get with international tours where there are severe load/weight limitations.”
“Thanks to its reliability, easy to use interface and incredible audio quality, contrary to its small size, this console is massive.”
METAlliance Announces Second “In Session” Event At Avatar Studios In NYC
Register now to participate in four sessions led by the founding members of META.
The METAlliance (Music Engineering and Technical Alliance) is presenting the second In Session event, February 19-20, 2011 in NYC at famed Avatar Studios.
“In Session with The Guys” attendees will participate and interact with the METAlliance founders in live recording and mixing sessions.
By special arrangement, The METAlliance will occupy the historic Avatar Studios for the entire weekend.
The inaugural 2010 METAlliance event in Hollywood at the historic studios in the Capitol Records tower was a resounding success.
Participants got a close-up look at basic tracking and mic techniques; in the separate mixing sessions they were engaged in the processes in significant detail and participated in critical listening.
“This was simply a great experience for all of us,” said Phil Ramone. “Working hard with a very diverse group of students, pros, educators and recording beginners.”
The METAlliance offers a unique opportunity to experience living history while learning invaluable techniques with the legendary master craftsmen who founded the METAlliance.
Every attendee will participate in four sessions, each designed to provide different experiences in the recording process and led by the founding members. Space is very limited.
Session One: Phil Ramone and Al Schmitt
Session Two: Elliot Scheiner and Ed Cherney
Session Three: Chuck Ainlay
Session Four: “In the Box” home studio mixing with Frank Filipetti and George Massenburg in a home studio environment
Amenities include catered food and a special private gathering February 18th for those who register by January 18, 2011.
For more information and registration forms visit metalliance.com
Posted by admin on 11/23 at 12:10 PM
Waves Announces The JJP MIxing Competition
The contest gives aspiring producers, engineers and musicians a chance to have their mix heard by GRAMMY winner Jack Joseph Puig.
Waves Audio has announced the JJP Mixing Competition, giving aspiring producers, engineers and musicians the chance to have their mix heard by the GRAMMY-winning producer.
On the contest page at the Waves website, users can submit their best mix using JJP Artist Signature Collection plugins (e.g. JJP Vocals, JJP Drums, etc.), and Puig will personally pick the winner.
He’ll be basing his decision on the overall sound of the mix; of course, having a great song certainly won’t hurt contestants’ chances.
Those who do not already own the JJP Artist Signature Collection can download the JJP Artist Signature Collection demo and use it for the competition.
Those who have already demoed it can call Waves Tech Support at +1-865-909-9200 ext. 1, and receive a special 7-day demo extension.
The winner will receive their choice of the JJP Artist Signature Collection or the JJP Analog Legends bundle, and the top three songs will be streamed on the Waves website for all to hear.
JJP Mixing Competition guidelines:
1. Entrants must use JJP Artist Signature Collection plugins somewhere in their mix — the more the better.
2. Users will also need to describe how they used them: Which plugins, on which tracks, which presets, plus any other info they feel is important.
3. Submissions should be in mp3 format, maximum file size 10 MB.
4. Entrants must own all the rights to the song they submit.
5. The winner will be required to send Waves the original session.
6. No more than two entries per person.
The JJP Mixing Competition will run until December 15, 2010, and the winner will be announced shortly thereafter.
Waves Audio Website
The Holidays Are Approaching - What If You Run Out Of Inputs?
While your church audio setup may be sufficient for a typical worship service, are you prepared during the holiday season for needs which may exceed your systems capabilities?
As Christmas Season approaches, I’m sure many of you are planning for your big Christmas services or productions.
It’s going to be an extremely involved production here at Coast Hills and I woke up in a cold sweat the other morning realizing I had forgotten two mics and didn’t have the inputs for them.
As I plotted out my strategy to free up inputs where there seemed to be none, it occurred to me that many of you may be in the same boat.
Christmas and Easter seem to always stretch our audio systems. Whereas a 32-channel board might be fine all year, at Christmas you need 40+ inputs.
Or in our case, 56 is typically more than enough; in a few weeks I need 64+. In previous churches, I’ve run into this issue many times, on varying scales.
There are many ways to tackle the problem of too few inputs; I’ll talk about three of them, in ascending order of cost.
Trim The Input Count
This may seem obvious, but I’m amazed at how many people don’t really look at their inputs closely. Though you may have a “pulpit mic” channel, do you really need it for the big production?
If not, you just freed up an input. Same thing for other “permanently” patched mics like those for baptismals, overhead choir, CD and DVD players, even audience mics. If you don’t need them for the show, you can unplug them and reclaim the input.
Just remember to label those ends so you know where all those unplugged XLRs go back when you’re done.
When I was at Crosswinds in NY, I had a 32-channel board that was full most weekends. When Christmas hit, I was a good 16 channels short. I solved the problem there by swiping a board from the children’s ministry room (along with all their wireless mics…).
I routed all my wireless mics into the submixer, and sent that to the main board as a single mix.
Two things to keep in mind when submixing:
First, take extra care with your gain structure. It’s easy to build a smokin’ hot mix in the submixer and overload the input channel on your main mixer. Watch that.
On the other hand, don’t send too low a signal either, or noise will increase dramatically.
Second, use the submixer wisely. Don’t stick the random extra guitar, banjo, keys and 4 additional wireless drama mics over there.
Find a big chunk of similar mics and put those together into a submix. Ideal candidates for this are all your drama mics or the drum kit.
Years ago, I was part of a church that ran a 32-channel SR-32 each week. For the big Christmas concert, we had 22 channels of wireless, a band and a small orchestra. Yeah, not going to fit.
And there was no room in the booth for a second mixer (and it would have had to be at least 32 channels). So I rented a ML-5000 from a local sound company. One of the reasons I went with that board was that mute automation that it offered.
We had so many scenes, back and forth between drama, music, more drama etc., that it would have been almost impossible to manage without some level of automation. We brought it in for a long weekend and it cost us a few hundred dollars, but it was money well spent.
A few words of warning: If you’re renting a board you’re not already familiar with, make sure you get it in enough time to learn it well. Also, rentals tend to book up for Christmas early, so if you haven’t booked a desk yet, you’d better hurry.
Finally, if you currently mix on a small analog desk, resist the urge to go rent a big digital desk like an SD8 or a Venue series, at least unless you are really familiar with them already.
Making that jump takes some time and you’ll be under enough pressure already. Find a big enough analog desk and your life will be much easier.
In my case, this year, I’m doing a combination of two of those. I’ve trimmed our some unnecessary inputs (one of my 4 video channels as I only need 3), and I made sure I had exactly what I needed for the band. I’m also bringing in either another stage rack or an 8-input card (depending on availability).
The rack gives me far more extra inputs than I need and makes it easier to wire up the band, but complicates monitoring. The card is enough, just enough, but I’m a little nervous about having every input used up.
But we’ll figure it out. It’s what we do…
Are you prepared for the coming holiday season? Let me know in the comments below!
Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
Solid State Logic Duality Installed In Heliport Studios
Originally designed as a private studio, Heliport has taken on an ambitious client list and has plans for a reality TV show.
When author and lecturer Allan Pease looked to fulfill his lifelong dream of a return to composing music and performing, he chose a 48-channel Solid State Logic Duality console to be the audio centerpiece of his Heliport Studios on the Sunshine Coast of Queensland, Australia.
Nestled within 57 acres of rainforest overlooking the western Pacific Ocean, the studio features a wealth of outboard gear, vintage and modern microphones and acoustically engineered spaces, all of which are brought together by Duality.
Well beyond a simple private studio, Heliport is bustling with a growing client list and will play host to a new pilot reality TV production that focuses on studio life.
“I built Heliport Studios to provide a technologically advanced, high-quality recording facility where artists not only record, but are also offered a creative haven that nurtures and develops their talent to its full potential, including my own,” said Pease.
“Duality has a streamlined workflow that’s neat and intuitive and is a great mix of all of SSL’s previous desks. The digital integration with Logic and Pro Tools is what takes it above and beyond the competition. As far as we are concerned, Duality is the ultimate console.”
Heliport Studios is a six-room facility featuring the Duality control room, a large Live Room, an Acoustics/Instruments Room (a smaller live-room recording space), a Medium Room for up to three performers, a Vocal Booth room and the Tube Room, designed as a small space to place guitar or bass amps.
“We went to great lengths to offer a wide range of vintage microphones and outboard gear, so a high-end professional act would be comfortable recording,” Pease said.
“I even scored a brand new 1958 RCA DX-77 in the original package. I set out to make this studio a wonderful creative space, which requires offering tools that will bring out the best sound. Our clients at all levels love the sound they get from Duality.”
While Pease first envisioned building a personal studio, this quickly grew into a dual-role personal/commercial studio. But the evolution of Pease’s mission didn’t stop there.
Because of the extremely positive response Duality and the entire facility have received from artists, engineers and producers, Pease is planning a venture into TV.
“We’re looking to produce an unplugged-type program, where we’ll put a key musician in the studio, mix him or her in with talented local musicians, and film the whole thing.”
“The program will offer humor, in-depth interviews, intelligence and, of course, music performed by well-known musicians. You can’t generate the interest in this type of thing without a console like Duality. The acts are already lining up.”
Solid State Logic Website
Dante Utilized On The Peter Gabriel New Blood, Scratch My Back Tour
Dante helped to deliver a rich multimedia experience on Gabriel's latest tour while making load-ins and load-outs much faster.
The Peter Gabriel “New Blood, Scratch My Back Tour” is nothing less than spectacular.
For this tour it’s only Peter, and a 54 piece orchestra. No drums, no guitars.
Peter and the New Blood Orchestra performed cover songs to sellouts at amphitheaters and arenas throughout Europe this spring and fall.
Due to the myriad of technical complexities throughout the tour, Audinate’s digital media networking technology Dante, was chosen by Brit Row Productions.
Because of the complexities of delivering an even orchestral sound to large arena audiences, a number of finely controlled zones were required.
Richard Sharrat, FOH engineer for the tour, used 9 sends from the Digico SD-7 to Dante enable products. In order to ensure that these sends were combined properly, a Yamaha DME 64 with a Dante-MY16-AUD was used to transfer the AES outputs of the console to the entire Dante network.
The DME also allows for fine system matrix control and testing of the system independently of the console and FOH engineer. Final system EQ was achieved using (2) Dolby Lake Processors running MESA EQ modules, to an additional (5) Dolby Lake Processors and a Lab.gruppen LM26 acting as crossovers for the PA all distributed via Dante over fiber.
Josh Lloyd, Systems Technician for Brit Row Production said, “Using Dante over fiber replaced a 32 pair return snake. A tiny piece of fiber optic cable, will delivered far greater control of the sound, which is critical in such an application”.
“Naturally Dante is capable of much more than this especially when employing a single mode fiber. Dante gives the reassurance that there is plenty of headroom in the network, and that everything is going to work reliably show after show”.
Brit Row Productions (BRP) is using single mode fiber as opposed to the older multimode fiber
The advantages of single mode fiber over Multi-mode fibre are; greater potential bandwidth (this is the medium on which 10 Giga Bit Ethernet is transported, and longer maximum distances (up to 160Km in one hop)
Another feature of Dante used by Lloyd is its Multicast vs. Unicast settings tool, which in a tour of this size and complexity, made Lloyd’s job much easier.
Lloyd remarked, “Dante, being a truly IP over Ethernet compliant system allows for a wide variety of network topologies to be used. Because signal only goes to the places where it is needed, there is no wastage of network bandwidth.”
“Traditionally this could only be achieved with considerable time spent configuring network settings and audio channel settings”. Says Lloyd,” Dante’s easy to use configuration tool makes it a no brainer- if the signal needs to go to several places, I choose multicast, if it needed to go to one place then unicast. The great thing about Dante, is that it will “show its workings” but not force you into making a decision if you are happy with what it suggests”.
As with most Peter Gabriel tours, multi-media and video plays a big part of the show. The use of Dante was especially useful on this tour. When an audio feed was required to the Video department, it took very little time to setup.
The sound engineers simply plugged an Ethernet cable into a switch, setup the patch on Dante Controller, and gave the video crew a very clean feed, without having to consider complex routing or topology issues. This speed of deployment and flexibility meant that the sound engineers could concentrate on their main job, which is delivering great sounding audio to the audience.
“Using Dante on a tour of this size makes load-in and load-outs much faster, is easy to use and understand and most of all, gives me the kind of audio control I could only dream about a few short years ago”.