Consoles
Monday, April 30, 2012
Allen & Heath iLive Selected For New German Cultural Centre
The conversion of Britz Castle in Berlin-Neukölln, Germany, into a new cultural centre, was recently completed, and includes a 300-capacity concert and theatre hall, installed with
Allen & Heath’s iLive digital mixing system.
The spec was for a future-proof digital system that could easily be used by sound engineers of guest productions. It also needed to be portable to service not just the hall but other areas in the venue, and flexible and simple to configure, with the option to have wireless control for smaller events.
The iLive system comprises a Dante-enabled iDR-32 MixRack with iLive-T80 Control Surface, plus a PL-10 rotary panel for remote control. iLive’s competitive price, built in compressor and EQ, as well as the possibility of the live recording of events via a laptop through the Dante interface, were the main reasons it was selected.
Dirk Förster from installation company, System Integration Berlin,commented: “iLive meets all requirements and expectations. The system is light weight, which made the installation easy, and has amazing technical flexibility.”
Allen & Heath
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Friday, April 27, 2012
Soundcraft Mixing With Professionals Coming To New York & Pennsylvania Featuring Monty Lee Wilkes
Soundcraft is continuing its “Mixing with Professionals” program this May with new dates in New York City and Reading, Pennsylvania.
Veteran front of house engineer Monty Lee Wilkes will host the workshops, scheduled for May 8 and 9.
The first session is scheduled for May 8 at Dale Pro Audio in New York City, continuing on to Sigmet Corporation’s headquarters in Reading on May 9.
Each day will feature two identical sessions (9 am—noon or 2 pm—6 pm).
Wilkes has been working in the live entertainment industry since the age of 15, having served as front of house engineer for a number of top artists that include The Replacements, Nirvana, Prince, and The Smithereens, and more recently, The Scissor Sisters, The B-52s, Jessica Simpson and R. Kelly.
“Monty is one of the most accomplished FOH engineers in the industry and his commitment to excellence goes hand-in-hand with our philosophy here at Soundcraft,” says Katy Templeman-Holmes of Soundcraft Studer. “We are looking forward to meeting with attendees to learn more about their needs as technicians and engineers, while providing the opportunity for Monty to share his invaluable experience from working with such a broad range of accomplished artists!”
“Mixing with Professionals” attendance is free, registration is online here.
Soundcraft
Harman
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Thursday, April 26, 2012
Mix Engineer Ken Newman Chooses Soundcraft Vi6 Console For Barry Manilow Tour
The current tour by Barry Manilow—his first U.S. tour of the decade—has front of house engineer Ken Newman providing the mix with a Soundcraft Vi6 digital console.
“In mixing this show, I have to make it sound exactly the way Barry wants it to,” explains Newman, who is also owner of Newman Audio, Inc. “While some artists leave the sound to their engineers, Barry is very involved in rehearsal and sound check and will sit right next to me and tell me exactly how he wants to hear something.
“He is very particular about what should be heard because he put together many of the arrangements and wants the audience to feel the music the way it is intended to be felt.
“We’re using a trimmed-down band setup, but we want it to sound like we have 30 to 40 musicians,” continues Newman, who worked with Manilow from 1992 through 2002 as his front of house mixer. “As a result, the biggest challenge of mixing this show is keeping up with the changes of a very active mix. There’s always something that needs attention. The logical layout and five illuminated touchscreens of the Vi6 make this part of the job much easier.
“Another key aspect is that the reverb has to be right,” Newman adds. “It’s critically important to him and has to sound good no matter what the venue. If I turn on the console and I don’t have the reverb up, Barry will say it sounds wrong. If the reverb is up and it sounds right, he is happy.”
Newman had to get ready for rehearsals quickly—and use a digital live console for the first time. “The last time I toured with Barry the console was analog, and from 2002 to 2011 when I was working for a corporate events firm I spent most of my time working on analog and smaller digital consoles,” Newman notes. “When I got the call for the tour, I wondered how I was going to be able to do it.”
The console selection process was quite involved, Newman points out. “I knew it would be totally impractical to use an analog console for the tour, and I looked at a number of digital consoles and what other music shows were using,” Newman said. “I didn’t feel confident that I’d be able to get the sound I was looking for with some of the consoles, as their internal effects and processing were marginal at best. With others, the control surfaces just weren’t going to cut it for an old analog guy like me. Some consoles seemed too complicated to learn in the short time I had, or were just not the right ‘fit’ for me.”
Newman asked the advice of Dave Lawler of Docktrdave Audio Inc. of Burbank, California. “My friend Dave Lawler suggested the Soundcraft Vi6. I could immediately see how operator-friendly it was with its five display screens, three user-configurable input fader configurations and other features. For me it was like the time I got my first Macintosh computer in 1984 after having used DOS-based computers.”
“I need to see what is going on one channel at a time, and the Vi6 offers great access to everything and not limiting me when I’m mixing, in a console that’s so nicely sized,” Newman added. “The Vi6 is also intuitive enough where if I don’t know exactly how to do something at first, I can figure it out easily enough.”
“I’m using all 64 inputs from the stage, as well as the majority of the local rack inputs and outputs,” Newman pointed out. “I’m using the board’s internal processing for most of the inputs, and I have two external tube audio compressors for the main and spare vocal mics. I’m using some other external effects because they’re the exact same units I had for the 2002 Manilow tour and I’m familiar with them. Given time and rehearsals, I might be able to eliminate some of those effects because the Vi6’s built-in Lexicon effects, compressors and gates sound so great.”
“This tour is the first time I’ve used the Soundcraft Vi6 for anything! Talk about putting something to the test – but I feel like I’ve found a new friend in the Vi6, and I look forward to using it for many years to come.”
Soundcraft
Harman
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Posted by Keith Clark on 04/26 at 01:21 PM
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Monday, April 23, 2012
DiGiCo’s Training Seminars Reach Russia
As important to digital console manufacturer DiGiCo as the quality of its products is the support and education it provides its customers.
The company runs a series of well-attended training seminars both at its UK headquarters and around the globe.
The latest location added to its roster is Russia, with its first seminar for the territory held in February at the recording and performance studios of the famous artist Igor Sandler by its Russian distributor, Aris Pro.
DiGiCo’s Vice President of Sales Ian Staddon was joined by highly respected engineer Dave Bracey, known for his work as Front of House engineer for artists such as Robbie Williams, Massive Attack and Bjork, with whom he is currently touring.
The evening prior to the seminar saw Ian and Dave interviewed live on Igor Sandler’s famous late night rock radio show, which, according to the network, had some 1.4 million Muscovite’s watching the live web feed.
On the day, the pair presented a mixture of technical theory and hands on practice, with the seminars covering DiGiCo’s entire range of products, from the flagship SD7 to UB MADI, the latest ground-breaking offering from the company’s Solutions division. The sessions were rounded off with a Mixing Master Class from Bracey, where he demonstrated why the SD7 is his console of choice and emphasizing the use and value of features such as snapshots when using digital consoles.
As a finale to the event, all the attendees were treated to an enjoyable evening of food, drink and a live performance by an AC/DC cover band mixed on the SD7.
“The seminar was well organized, and I had a lot of time to discuss my questions with the DiGiCo and WAVES specialists,” recalls Alexander Odelevsky,Head of the Sound Reinforcement department
at The Moscow International House of Music. “We were able to fully explore the consoles. For new users it was a great experience to be able to study on DiGiCo consoles, and a great opportunity to address a few challenges and discuss some deep hardware and software nuances for pro sound engineers like me, who are experienced in DiGiCo consoles. Thanks to the DiGiCo/WAVES/Aris Pro teams for a great event.”
“Everybody really liked the seminar,” says Yaroslav Udovik, managing director of Aris Pro. “In fact, we plan to do more, as we have identified a need to provide more information to the end users in the Russian market.”
“It’s fantastic to be able to support exciting markets in this way,” adds Staddon. “The feedback we’ve had from the attendees was extremely encouraging and we’re looking forward to a return visit in the near future.”
DiGiCo
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Thursday, April 19, 2012
API Hosts Event With Joe Chiccarelli At West LA Music
Famed producer, mixer and engineer Joe Chiccarelli is slated to appear for API (Automated Processes Inc.) at a special API JDK Day event. The special showing will feature a Q&A with Chiccarelli as well as a demonstration of his recording and mixing techniques using an API 1608.
“We are so thrilled to have Joe available to appear at this event,” said Larry Droppa, API president. “Getting Joe to explain his recording and mixing techniques in an intimate forum like this is a very rare occurrence, and API is honored to have Joe doing the demo on a 1608. He has been a fan of API gear for many years and has the ability to get the equipment to bring out the best part of an artist’s performance.”
Chiccarelli rose to industry fame as an engineer and producer for acts such as the Counting Crows, The Shins, The Strokes, Jason Mraz, Elton John, The Killers, U2, Beck, My Morning Jacket, Tori Amos, White Stripes, Christina Perri and many others.
The event, a joint presentation sponsored by West LA Music and API, takes place at Westlake Pro (4101 Lankershim Boulevard, North Hollywood) from 7 p.m. to 9 p.m. April 24th. API will be raffling off a JDK R22 Channel Compressor at the end of the presentation.
API
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Posted by Keith Clark on 04/19 at 11:55 AM
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Soundcraft Vi1 Delivers It Strait For Matthew Manasse
When members of Dire Straits got back together for a one-off charity event at the Albert Hall, sound engineer Matthew Manasse was asked to look after the front of house mix.
The incredible response to the event led to repeated demands for the band to play again—and so ‘The Straits’ took to the road. This culminated in a full European tour recently that saw Matthew Manasse mixing the shows on a Soundcraft Vi1.
Having toured with some of the biggest names in the industry, from Dave Brubeck and Katie Melua to Rufus Wainwright and Pink, Manasse is highly regarded in the world of professional audio.
However, in a world of ever tightening budgets he had become disillusioned with the touring market and left it to concentrate on running his new venture, Bluefish Live Events, to service the corporate events market.
But The Straits tour proved irresistible and as an early champion of Soundcraft’s Vi6, he had no hesitation in turning again to the company’s digital platform.
The Vi1 was provided by Sound Technology, Harman’s distributor in the UK and ROI.
“I really loved the Vi6 so when the Vi1 was suggested I was initially a little concerned that its compact size might make it difficult or slow to navigate,” he admitted. “There are only 16 input faders visible at any one time and with 44 inputs from the stage I was worried that I’d be constantly switching between the layers and that this would take my attention away from the mix.”
Fortunately, Soundcraft was one step ahead.
“There are five user definable fader layers so I’ve been able to group together the inputs that I need for different elements of the show,” Manasse said. “Accessing the right channel has never been so easy. With sound levels ranging from around 70dB up to the dramatic peaks of around 108dB, I needed a digital console that was versatile, small and flexible and that could handle that dynamic range without running out of headroom.”
The system has been programmed so there is a page for the opening number, a different page for the rocky songs and a third for the more acoustic ones.
“On each of these fader pages I have the key input channels visible that I know I’ll need to access quickly,” Matthew continued. “Obviously some channels, such as the lead vocal, will appear on all these pages but that’s what makes this desk so flexible. I always have the inputs I need at my fingertips.”
Whereas previously he would simply recall a snapshot for every song, with the user definable layers he’s decided to mix the show on the fly, making the experience a lot more fun.
“This has the effect of keeping the whole mix fresh as I have to stay completely involved.”
The other area where the console scores highly is on the output section. Concert Sound Clair, which has a long history with both Manasse and Dire Straits, is providing a monitor system and FOH control for the tour.
“As we aren’t able to carry a full PA system, CSC had given me an advanced processor as part of the package so that I could take complete control of the house systems that I’m using—but due to the number of matrix outputs on the Vi1, all with delay and EQ, I haven’t needed it once,” Manasse added.
CSC also provided a Vi stagerack, adding 64 mic/line inputs on stage to the 32 on the back of the console, which was a further bonus. The sound engineer noted that since the Soundcraft preamps are modelled on the Studer, this provided him with “an exceptional sound.”
The Vi1 also offers four Lexicon effects engines, which Manasse has been using sparingly on percussion, acoustic guitar, sax, vocals and the signature National steel guitar. “I am a huge fan of the built-in Lexicon effects,” he said, “and the Vistonics interface on the Vi1 makes it is so much more flexible and intuitive.”
One facility on the Vi1, which he regards as essential, is the input channel delay.
“A few years ago I started to experiment with time alignment and now apply this to every mic on stage; it’s time consuming but the results speak for themselves as there is a marked increase in clarity and depth within the mix. The big advantage is that I can keep the acoustic guitars sounding like acoustic guitars, I don’t have to use the EQ to make them cut through as I’m already creating the ‘space’ with the time correction. By reducing the amount of ‘mess’ onstage I can keep the whole band sounding more natural.”
With Gareth Lewis on monitors and Nick Belshaw tour managing, the house engineer reflects on a thoroughly enjoyable tour of duty, before he again replaces the world of circuit venues (averaging out at around 1,500 capacity), to four and five star hotel conference and banqueting rooms.
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