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Sunday, February 05, 2012

RFvenue Releases New Long-Range UHF Antenna For Wireless Mic & IEM Systems

RFvenue has introduced the new high-gain, foldable, circularly polarized CP Beam antenna for use with wireless microphone and in-ear monitoring systems used in applications such as concert touring, location sound, audio/visual, and broadcast.

The CP Beam antenna is optimized for long-distance applications in the 470-698 MHz UHF range.

“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” states RFvenue CEO Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs.

“It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”

Robert J Crowley, inventor of Crowley and Tripp microphone technology and chief of Soundwave Research, which operates RFvenue, adds, “The new RFvenue antennas all incorporate ergonomic and human factors that have been ignored in the past. RFvenue’s products make wireless systems easier to use, more dependable, and eliminate guesswork in an increasingly complex RF spectrum.

“The CP Beam is a high-gain, broad bandwidth, directional antenna that is excellent for long-range wireless mics or IEMs, as well as point-to-point RF links.”

The new CP Beam has a $499 list price. The company’s products are shipping worldwide through distributors, dealers, and a nationwide manufacturer’s rep force in the US.

RFvenue

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Thursday, February 02, 2012

New Firmware Update For Roland Digital Snake System Expands Flexibility

Roland Systems Group is now offering a new Version 2.500 firmware update for S-4000 Series digital snake systems.

The new functionality allows the S-4000H 8 x 32 digital snake head to support samples rates of 48 and 44.1 kHz – in addition to 96 kHz. This enables it to be used in V-Mixing System configurations, especially as an analog breakout box.

In addition, the update provides control of pre-amps of the S-4000S set in REAC Master mode using the S-4000R or S-4000 Remote Control Software (PC/Mac) without the need for slave equipment or the M-48 personal mixers present.

This allows new uses of the digital snake head such as a 40 input front end to a SONAR REAC Recording system – all connected to a PC via a Cat5e/6 cable.

The S-4000 Series was the first digital snake system using the REAC protocol - a low-latency, high-quality digital transport system.

The S-4000 digital snake system Version 2.500 firmware update will be available in mid-February. Visit www.rolandsystemsgroup.com/updates for more specific information.

Roland Systems Group

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Tuesday, January 31, 2012

Extron Introduces New Eight-Port Fiber Optic Audio Extractor

Extron Electronics has introduced the FOX AEX 108, an eight-port fiber optic audio extractor for independent processing and routing of audio signals in a fiber optic AV distribution system.

Each port accepts signals from a FOX Series transmitter to extract a two-channel analog audio signal for processing, and then re-transmits the original signal to a FOX Series receiver.

To simplify integration with mixers, DSP devices, and audio amplifiers, the FOX AEX 108 provides both balanced and unbalanced stereo.

Buffered loop-throughs feature output reclocking and full transmitter power levels to ensure signal integrity.

Available in multimode and singlemode models, the FOX AEX 108 is great for use in FOX Matrix system applications that require extraction of audio signals for local processing and independent distribution.

“System designers and integrators that rely on Extron FOX Series products for fiber optic AV signal distribution now have a new option to route audio within the equipment room,” says Casey Hall, vice president of sales and marketing for Extron. “The FOX AEX 108 provides an easy way to extract audio signals for independent processing while maintaining the integrity and convenience of the fiber optic link.”

The FOX AEX 108 is part of the larger, expansive FOX Series of fiber optic products from Extron. It is compatible with FOX Series matrix switchers, switchers, distribution amplifiers, and HDMI, DVI, VGA, VGA/YUV, and AV transmitters and receivers.

Housed in a compact 1U, half-rack width metal enclosure, the FOX AEX 108 is designed to provide convenient access for audio signal processing and routing from an equipment room.

Extron Electronics

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Friday, January 27, 2012

New “Dangerous Source” Portable Desktop Monitor Controller

At the NAMM 2012 Show, Dangerous Music announced its newest monitor controller, the “Dangerous Source” - a portable and desktop unit designed for portable applications or to fit a limited space on the desktop, a complement to any DAW for its centralized control of loudspeakers, headphones, and more.

Dangerous Source fits beneath a 13-inch laptop computer, and it can also sit unobtrusively on the desktop within arms reach to provide easy control of volume, input selection, loudspeaker switching, and headphone control. An input for USB audio simplifies a traveling mix rig even further.

“With the explosion of professional recording and mixing being done on today’s powerful laptop computers, we wanted to bring our standard of audio path quality and functionality to portable monitor control,” says Bob Muller, president of Dangerous Music. “We’ve been making monitor controllers since before the product category existed in the mainstream, so the Dangerous Source seemed like the logical next step in the lineage of Monitor, Monitor ST and D-Box.

“We’ve also added a first for our products in that the Source connects directly to the computer via USB, saving even more cable hassles for the traveling engineer.”

The Dangerous Source monitor controller sports many of the key professional features of the company’s Dangerous D-Box, such as loudspeaker switching for two sets of loudspeakers, loudspeaker volume, AES/SPDIF digital IN, 2 Stereo Analog IN, and dual headphone out with a separate level control.

In addition, it can connect directly to a computer for monitoring of digital audio over USB. Dangerous Source is capable of up to 24-bit 192kHz on both digital inputs.

Although the Dangerous Source is the company’s first non-rack mount product, an optional 1RU user-installable front panel option will be available.

Highlights:
• Designed for portability
• Desktop form factor sits comfortably under a 13-inch laptop
• Optional 1RU front panel available
• Speaker volume control
• Two 1/4-inch headphone outs
• Supports 2 pairs of loudspeakers
• Alternatively select both loudspeaker outputs simultaneously for speakers and subwoofer combination
• Layering of multiple inputs in both the loudspeaker and headphone outputs
• 2 Analog IN: unbalanced 1/8-inch mini stereo at -10 dBv, balanced XLR/1/4-inch combo jack at +4 dBu
• AES/SPDIF digital IN, up to 24-bit/192 kHz
• USB IN, up to 24-bit/192kHz for Windows and Mac
• Line-level pass-thru for Control Room output
• Buffered digital thru output for AES/SPDIF input

The Dangerous Source is set for release in early Q2, 2012, the price is to be announced.

Dangerous Music

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Thursday, January 26, 2012

AKG Launches New IVM4500 IEM In-Ear Monitoring System

At the NAMM 2012 Show, AKG launched the new IVM4500 IEM in-ear monitoring system, including high-end radio electronic and a manual radio signal attenuator for more RF dynamic, enhanced frequency setup to show the number of free channels and supported TV channels, and quick frequency change functions to support monitors.

Battery life for the IVM receivers has been tested up to 10 hours.

“AKG’s IVM 4500 IEM in-ear monitoring hardware raises the bar for audio quality, as the user becomes more in-tune with their own sound,” states Wolfgang Fritz, product marketing manager – tour sound, AKG.  “AKG continues to set the standard of high-quality, reliable performance, while IVM4500 IEM adds another groundbreaking, performance-enhancing technology to the industry.”

IVM4500 IEM features antenna diversity, with two matched antennae and a new reference radio electronic design, all of which provide stable signals for the receiver.

Audio quality is enhanced with a high-end and powerful headphone amplifier, ultra linear frequency response and dual mode for individual mix. The quick frequency change functions support monitor engineers throughout performances to make their projects easily adjustable.

“The in-ear monitoring market has become far more mature over the years,” continues Fritz.  “Artists demand, and rightfully so, an in-ear monitor that combines reliability, performance, power, comfort and quality audio – traits we’ve worked tirelessly on to ensure the IVM4500 IEM meets the standards of the performer.”

Included in the IVM4500 IEM system:
—SPR4500 IEM diversity receiver, which automatically shows the number of free channels and supports TV channels with pre-programmed preset frequencies;

—SST4500 IEM transmitter, which is adjustable to 10, 20, 50 and 100 mW depending on country laws; and the IP 2 ear-channel headphones, providing excellent acoustics and low impedance;

—SPC4500 antenna combiner, the SRA2 W directional antenna and the RA4000 W omni-directional antenna complete the package.

AKG
Harman Pro

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Wednesday, January 25, 2012

New Pivitec e32 Personal Mixer Provides 32-Channel Ethernet AVB Capability

Introduced at the NAMM 2012 Show, the new Pivitec e32 personal mixer is a 32-channel Ethernet AVB “listener” endpoint that can be used to build a stereo mix up to 32 channels of network audio sources that can then be controlled wirelessly from iPhone, iPod touch or iPad using Pivitec’s V2Mix app for iOS.

The e32 features a high-output headphone amp loud enough to work in loud stage environments as well as stereo line outputs for driving other devices, such as wireless IEMs, power amplifiers or powered loudspeakers.

Both are driven by a 24-bit/48-kHz digital to analog converter.

A built-in DSP provides three bands of EQ on each audio channel as well as a stereo three-band EQ and limiter on the master outputs.

The e32 also includes a “local” stereo line level input for connecting an MP3 player or click track for local listening.

Features:
—Stereo line level outputs on 1/4-inch TRS connectors
—High-output headphone amplifier
—Local 3.5mm line level input
—Rugged extruded aluminum chassis with black anodized finish
—Wireless control from Pivitec’s V2Mix App for iPhone & iPad
—Power from external 48VDC supply or PoE (802.11af)
—Made in USA

As an integral component in the Pivitec Audio Networking product family, the e32 is an ideal complement for the e16i input module. Multiple e16i and e32 units can be utilized to builde a personal monitor mixing system. 

Four e32s can be rack mounted in a single 1U rack, or a microphone stand adapter can be deployed for local mounting.

Pivitec

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Tuesday, January 24, 2012

Sony Expands MDR-7500 Series Professional Headphone Series

At the NAMM 2012 Show, Sony Electronics unveiled the expansion of its MDR-7500 Series professional headphones with two new studio headphones (MDR-7520 and MDR-7510) and one in-ear system (MDR-7550).

Designed to accurately monitor the wide dynamic range and extended frequencies delivered by modern digital audio equipment, the new models in the series are precision-manufactured using the highest grade materials such as gold-plated Unimatch 3.5mm/6.3mm adaptors.

“The need for feature-rich, high-performance headphones in the studio and on stage is nothing new, but the latest 7500 Series headphones from Sony combine quality materials and world-class design to deliver excellent sound,” says Karl Kussmaul, senior product manager, Professional Audio, Sony Electronics. “Our expanded line offers pros a wider selection of monitoring options whether for reference, live performances or recording.”

The MDR-7550 in-ear monitors (IEM) are engineered for musicians to use during live performances. With its large caliber (16mm) dynamic drivers these earphones offer a wide dynamic range with accurate sound reproduction.

With a unique multi-layer diaphragm and flexible ear hanger, the 7550 easily folds and maintains its shape ensuring a superior fit of the hybrid silicone/rubber earbuds.

Meanwhile, the new MDR-7520 studio headphones utilize ultra wideband 50mm HD driver units and liquid crystal polymer film diaphragms for improved durability and unparalleled sound quality.

The 7520’s noise isolation earpad cushions conform to the natural shape of the ear for comfort and high acoustic isolation. The housing is constructed of a lightweight magnesium alloy to increase comfort, reduce fatigue and prevent unnecessary vibration.

The new MDR-7510 studio headphones are a solid choice for reference monitoring,with their 50mm drivers and PET (polyethylene terephthalate) diaphragms providing a wide frequency response, broad dynamic range and accurate sound playback.

The 7510 uses neodymium magnets and OFC (oxygen free cooper) voice coils to deliver high-performance.
All models are planned to be available in March of 2011.

Sony

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Monday, January 23, 2012

PreSonus Announces QMix App: Monitor Mix Control Via iPhone/iPod Touch

Up to 10 musicians can simultaneously control their StudioLive monitor mixes using an iPhone or iPod touch and Presonus’ free QMix app. QMix builds on PreSonus’ original Virtual StudioLive (VSL), which provides bidirectional computer control of PreSonus StudioLive-series mixers via FireWire. Next came StudioLive Remote for iPad, which provides wireless control of StudioLive mixers.

“SL Remote is very useful for the front-of-house engineer but it’s overkill for onstage performers, and the cost of iPads can add up. That’s why we created QMix,” noted PreSonus Chief Technology Officer Bob Tudor. “The iPhone and iPod touch offer enough screen real estate to comfortably manage an aux mix, yet are relatively inexpensive and ultra-portable. QMix is designed for musicians and can be used in parallel with an engineer running StudioLive Remote from an iPad.”

QMix works by networking one or more iPhones wirelessly with a Mac or PC, enabling QMix to remotely access Virtual StudioLive to control one or more FireWire-connected StudioLive mixers. As each iPhone connects to the network, its copy of QMix will discover all StudioLive mixers on the network, enabling each musician to quickly and easily create an aux mix that includes all mixer channels. And QMix lets the engineer set permissions so that each iPhone on the network only controls a specified mix.

QMix will be a free download from the Apple App Store and is expected to be available in January 2012.

Presonus

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Thursday, January 19, 2012

Aviom Introduces Pro16 Personal Mixing Systems

Aviom is pleased to announce a series of Pro16® Personal Mixing Systems, debuting at the 2012 NAMM Show, Booth 6720, Hall A.

These systems feature the perfect mix of gear that most performers or groups require on stage or in the studio. Now available are the MIX1, MIX4, MIX6, MIX6Y, MIXSP, and MIXMZ systems. The MIX1 One-Mix Personal Mixing System features one A-16II Personal Mixer, one AN-16/i Input Module and one MT-1 Mic Stand Mount.

Users can connect the AN-16/i to a console, mount the A-16II to a mic stand with the MT-1, connect the input module to the personal mixer with the included Cat-5 cable, and they’re ready to go with a one-person personal mixing system – perfect for the musician who is ready to lose the wedge and move to a personal mixing system without waiting for the rest of the band to do so.

The MIX4 Four-Mix Personal Mixing System and MIX6 Six-Mix Personal Mixing System offer four and six A-16II Personal Mixers and MT-1 Mic Stand Mounts respectively. These packages also include Aviom’s A-16D Pro A-Net Distributor, which distributes both audio and power to the personal mixers over the included Cat-5 cables. With each of these systems, users receive all the components to set up an entire system for a band.

The MIX6Y Six-Mix Personal Mixing System for Yamaha offers the same components but includes an Aviom16/o-Y1 A-Net Card instead of the analog input module so users can connect directly to a Yamaha console.

The MIXSP Standalone Personal Mixing System and MIXMZ Multi-Zone Personal Mixing System are designed for more unique user situations and requirements. The MIXSP is a standalone package that comes complete with an Aviom AN-16/i-M Mic Input Module, that allows traveling bands to work independently of the console and sound engineer at a given venue. The MIXMZ is a multi-zoned system designed to introduce more channels into the system but that still keeps it simple for musicians to use.

All Aviom systems harness the power of A-Net, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity.

Aviom

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Sunday, January 15, 2012

Sensaphonics Upgrades IEM line With New Cable And “Crystal” Colors

Sensaphonics will be demonstrating two product upgrades at the 2012 NAMM Show, booth 6950, including a new coaxial cable system for the company’s 2X-S, 2MAX and 3MAX earphones.

In addition, Sensaphonics is introducing Crystal Series color options for all its custom-fit, soft silicone products.

The new cable system offers plug-in convenience, easy field replacement, a low-profile look, and added protection from failure. Its coaxial plug rotates 360 degrees, and memory wire inserts insure a snug, repeatable fit around the ears. The new cables are available in clear/silver and matte black.

In addition, Sensaphonics is introducing the new Crystal Series of translucent silicone colors. Available in crystal blue, crystal pink, crystal purple, crystal green, crystal yellow and crystal charcoal, these new colors are an eye-catching alternative to the clear silicone and solid colors that the company currently offers.

Crystal Series colors are available for all the company’s custom-fit products, including, for the first time, the 3D Active Ambient IEM System.

“Both these changes are significant, and address specific customer needs and desires,” notes Sensaphonics president and founder Michael Santucci, Au.D. “We’ve been searching for a secure cable system that can reliably prevent sweat from reaching the internal electronics, yet allows quick and easy field replacement. We’re very pleased to say that we’ve found it.

“The new colors are obviously more of a cosmetic change, but before now, it was impossible to source translucent colors in the specific formulation of soft-gel silicone that we insist upon. These new colors enable our lab technicians to see through the silicone to perform the final wiring operations, allowing us to offer the 3D Active Ambient in colors for the first time.”

Both the new coaxial cable system and Sensaphonics Crystal Series colors are available immediately.

Sensaphonics

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Friday, January 13, 2012

POSSE Audio Introduces Personal On Stage Sound Environment System

POSSE Audio has introduced the Personal On Stage Sound Environment (POSSE) system that interfaces with wireless earphone and instrument systems, allowing artists to independently set the level of their vocal microphone, instrument output, ambiance of the room and any auxiliary input(s). It will be on display at booth 3283 at the upcoming NAMM 2012 Show in Anaheim.

It is supplied with a gooseneck condenser mic for unelectrified instruments as well as a built-in phantom power supply, and also includes a built-in, line-of-sight chromatic tuner (powered by N-Tune), stereo instrument inputs, earbuds, belt box, peak limiter, and direct box.

Further, it comes with all necessary cabling (6-foot MIDI, 6-foot HDMI, 3-foot guitar) and carrying case.

“POSSE was originally designed to correct for monitoring problems that a performer encounters on the stage and in the studio,” states POSSE co-creator Randy Sharp. “We’ve all struggled with trying to communicate with the sound person, dealing with a poor monitor mix, or in instances where the audience or band mates are too loud. Being able to independently set the level of your vocal mic, your instrument output, the ambiance of the room and any auxiliary input(s), you can customize your monitors to a comfortable and performance enhancing mix.”

Highlights:
—Control stage mix or studio feed
—Sets up in minutes & drastically reduces sound check time  
—Zero latency with any digital system
—Hear the audience with built-in stereo mics
—Mic acoustic instruments with included condenser microphone
—Built-in, line-of-sight chromatic tuner (powered by N-Tune™)
—Stereo instrument inputs
—Convenient belt box
—Peak limiter protects hearing
—Built-in direct box
—Phantom power for condenser mics
—MP3 player
—Record performances
—Runs on AC adapter or battery power (9-volt battery not included)
—Comes with all cables
—Made in the USA

U.S. MSRP is $499.

POSSE Audio

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Thursday, January 12, 2012

Festival Altavoz: Delivering Diverse Styles Across A Huge Coverage Area

The sound reinforcement system assembled for the roughly 80,000 music fans in attendance was no small undertaking

For three wild days and nights, music enthusiasts of every popular genre in Medellin, Columbia recently had the opportunity to enjoy live performances of their favorite artists at the 8th Annual Altavoz International Music Festival, more commonly known as Festival Altavoz.

Key acts at this year’s festival included Mexico’s alternative rock band Plastilina Mosh and Latin Grammy Award-winning rockers Molotov, the English punk band The Adicts, as well as Argentina’s Bajo Fondo Tango Club.

Held at Estadio Cincuentenario, a large multipurpose arena and surrounding grounds that serves as home to a variety of sports and entertainment events, the sound reinforcement system assembled for the roughly 80,000 music fans in attendance was no small undertaking.

Medellin-based event services and production company Hangar Musical designed and deployed the system, along with handling video, lighting and staging.

Hangar Musical’s Santiago Velez, who served as technical producer for the festival, notes that the concert system was developed to serve the wide variation of artists and musical styles. “The acts were able to work with a flat, balanced system that gave them complete freedom to mix however they wanted,” he adds.

Far & Wide
The outdoor coverage area was quite large, measuring roughly 300 feet long by 200 feet wide.

To provide commensurate long throw and broad horizontal coverage, Hangar Musical crew deployed a system headed by 32 DAS Audio Aero 38A 3-way, medium format, powered line array elements - flown 16 modules per side at a height of 33 feet.

Low-frequency support was delivered by a combination of 12 Aero 182 arrayable subwoofers - ground stacked six enclosures per side - augmented by yet another 12 DAS LX-218A powered subwoofers (also six enclosures per side).

The extreme sides of the wide audience area, the Hangar Musical crew flew ten DAS Aero 12A powered 2-way mid-high line array enclosures.

These were positioned five modules per side, 20 feet up in the air and were angled 45 degrees from the house mains.

Meanwhile, the far corners of the stage hosted two Aero 12As per side, stacked, to bolster front fill.

Velez and his crew also added delay loudspeakers to insure coverage reached all the way to the back of the area, flown from towers positioned roughly 165 feet from the main stage.

This portion of the setup included four DAS Aero 50, 3-way, large-format line array enclosures per side, driven by Lab.gruppen FP 9000 power amplifiers rack-mounted beneath the delay towers and which were accompanied by another three Aero 182 subwoofers per side.

Considerable Numbers
Velez utilized Lake processors to dial-in and optimize the main stage portion of the system, with a dbx DriveRack processor deployed for the delay system.

Four outputs of the DriveRack fostered a cardioid arrangement. Another DriveRack signals for TV and radio coverage of the event.

“Antonio Villamizar, our setup engineer, did an amazing job working with the system and the Dolby Lake processors to make the system fully functional for everyone,” says Velez. “The sound system exhibited deep bass, perfect mids for the vocals, and high frequencies reaching all areas. The coverage was excellent at all frequencies.”

Approximately 115 feet out from the stage, the front of house position was equipped with two Yamaha digital consoles primary mix engineer Federico Lopez: a PM5D and an MC7L. These consoles managed a large number of inputs – primarily microphones, both cabled and wireless. A third Yamaha board - another MC7L – was provided for monitor mixer Byron Ospina.

The microphone package included several models from the Shure Beta and SM Series lines. Mics from AKG (D 112, 414, and C451), Sennheiser (MD 421 and MD 441), Audio Technica (AT4033) and RØDE (NT5) were also available in considerable numbers, as were Shure wireless mic systems, including six PGX24/Beta 58 packages.

Up to 10 DAS Road 15A powered, 2-way stage monitors were deployed on stage as needed, bolstered by ground-stacked Aero 12A arrays for stage fill.

“All of the artists told us they were able to give a great show since they were comfortable with the stage sound,” Velez concludes. “The reaction from the crowds was equally gratifying. The hip-hop and electronic fans had all the bass they wanted. while the metal and punk fans heard all the distorted guitars without hurting their ears. The event was a huge success.”

R. Maxwell is a freelance technical audio writer.

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P.A. Plus Deploys Martin Audio Monitors For Canadian Country Music Awards

The Canadian Country Music Awards once again marked a celebration of some of the best talent in the genre, with numerous live performances for thousands on hand at Copps Coliseum in Hamilton, Ontario, in addition to being broadcast live on the CBC.

P.A. Plus Productions of North York, Ontario, handled audio production for the event, choosing to provide Martin Audio stage monitors for all performances.

“With 14 bands on a one-band stage, we had very short change over times between sets and one set of gear had to be acceptable to all of the different bands,” says monitor engineer Adrian Sterling. “The Martin wedge is very smooth and has a surprisingly high output for such a low profile box. At only 46 lbs., the LE1200S was the ideal choice for a show consisting of that many band performances on one stage.

“As it turned out, everybody was pleased with the Martin Audio wedges,” he continues. “They consistently cut through in an environment where you have the PA unusually close to the stage with a lot of low frequencies coming off the back of the system.

“Their low visual profile also kept our producers and the bands happy. It was especially important where the ability to have a Steadicam or dolly operator in front of the stage easily shoot up over the monitors is a really big deal. And, sonically, we had more than enough headroom for all the different acts on the bill.”

P.A. Plus came up with a space-efficient monitoring setup, combining a Yamaha PM5D and a DSP5D to contend with the large number of acts without taking up too much space.

“We’d use 48 channels for one band, then switch to 48 for the next band,” Sterling explains. “So we had one control surface because we had less space due to all of the television equipment and even though the stage was wider than most rock shows, we were pushed to the sides.”

Expanding on Martin Audio monitors, P.A. Plus systems engineer Mark Radu adds, “I’ve always been a big fan of Martin Audio. When we were looking for monitors, we evaluated everything and they were the clear winner. It was the perfect opportunity for us to get on board with them.

“They’re just better in terms of the sound, esthetics and performance of the box. And the horn is asymmetrical so you can move further back from the box and you’re still in the path of the horn, which is a big advantage. It’s like they sent a gun to a knife fight.”

In addition to Sterling and Radu, the P.A. Plus crew for the CCMA included system tech John Lacina, RF engineer John Sulek and PA system tech Neal McDonald.

Martin Audio

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Working Sound Reinforcement In The Wonderful World Of Celtic Music

As this genre grows in popularity, more and more audio engineers will be exposed to it for the first time, so it's helpful to know what to expect and how to approach Celtic music

It is not usual to encounter an entirely new musical genre, nor is it unusual not to have a clue what to do with it.

And that’s exactly what some in the live audio community are encountering with the burgeoning Celtic music scene.

Historically, Celtic music has been around a lot longer than America itself. In fact, Celtic music is the roots of bluegrass.

Irish and Scottish immigrants brought their traditional folk music with them and several generations later, it morphed into bluegrass in Appalachia and spread all over the south and east.

Somehow, most folks missed the fact that it came from across the water and assumed it was born here.

All that is changing, as is Celtic music itself. The Celtic community has always had its traditional folk music but only small samplings of it ever leaked out into the general public.

The change started in the British Isles with the folk revival of the mid 1970s and finally made its way to the US when, in 1995, Riverdance exploded onto the scene. The American public had never heard (or seen) anything like that before and tens of thousands of people really, really loved it.

It captured the imaginations of young girls who flocked to the dance studios to learn how to step dance. But more importantly, it gave musicians all over America something new and fresh, which they’ve now taken to their hearts and made their own.

There is something for everyone in the Celtic genre, which I break down into five categories: traditional folk music, bluegrass, balladeers, rock, and pipes and drums.

WHAT TO EXPECT
As these festivals multiply, it becomes more and more likely that audio engineers will be exposed to it for the first time, and thus it might be helpful to know what to expect and how to approach Celtic music.

We worked our first Celtic festival in November of 2001, when we were hired to do their main music stage because we had a reputation within the regional bluegrass community for knowing the difference between electric and acoustic instruments.

The festival was a real eye opener for us. There were a number of instruments we’d never seen or even heard of before. And how the heck do you mic a bagpipe?

But it was immediately evident that this music is predominately acoustic… except for the wailing rock bands.

The review of our work at the end of the festival was immediate. We were hired for the next year, to do all four stages.

In fact, we’ve regularly added new Celtic festivals in the region.

The musicians within the Celtic community are a tight-knit group and word gets around quickly which festivals have “the good sound.”

The festival coordinators really care what the music sounds like because, unlike most run-of-the-mill festivals, the public comes specifically to hear the music and they have a critical ear. They actually sit in chairs and listen.

And more than once, I’ve seen them confront the boisterous Guinness drinkers and tell them to move on or shut up.

This community is becoming aware that they don’t have to put up with inappropriate sound for their festivals.

It is amazing how many musicians have complimented us by saying, “Thank you for not mixing us like a rock band.” That is the prime key to successfully providing production for one of these events.

Flutes, mandolins, concertinas, violins and the like have to be treated with artistic finesse, because that’s the way these musicians approach their craft.

Don’t get me wrong – there’s plenty of room for rock ‘n’ roll – and I’ll get there in a bit.

Several things have struck me since we’ve been working in this market.

First, we never (and I actually mean that) encounter ‘wannabees’ on our stages. No matter which festival we’re working, every artist on every stage is proficient. I can’t say that in any other genre in which we work. The level of artistry is superb.

In fact, I have determined that the best fiddle players in the world are women in the Celtic market. We work with excellent fiddle players every week of the year in our regular gigs, but we are continually amazed at the female fiddle players we encounter at the Celtic festivals. Check out Eileen Ivers, Natalie McMasters or Bonnie Rideout for examples.

Second, you will encounter every instrument you can think of, and a few you’ve never even imagined. There’s room for everything in the Celtic scene, including every bluegrass instrument and a profusion of percussion – particularly the bodhran, or Irish hand drum – hurdy gurdys, six or seven different styles of accordion, and even Australian didgeridoos, as well as dozens of stringed instruments of various descriptions.

Even on the smaller festivals, I will typically fill my 40 input channels and usually double or triple up the instruments on them. Then guess what; one musician may play upwards of three of four instruments, changing from fiddle to bouzouki or bodhran in mid song – and maybe back again!

Another thing that typically occurs is that the festival coordinators will cram the schedule with acts.

Their challenge is that more artists want to perform than they have available slots for.

You will also usually see the same band perform more than once a day on your stage and usually on consecutive days as well, so you should be prepared to chart your consoles, as there is almost no concept of 30-minute set changes.

These shows require very hard work, but they’re an immense amount of fun and the performers are so appreciative of ‘good sound’ that it’s well worth the effort.

STYLES OF CELTIC MUSIC
As I stated earlier, I divide the genre into traditional folk, bluegrass, balladeers, rock, and pipes and drums.

The first group is almost always completely acoustic. Every year, thankfully, we find more and more artists installing pick-ups in their instruments but you’ll still encounter a healthy proportion of instruments you have to mic.

For these groups, it is wise to have a large number of condenser mics available. You’ll find everything from solo guitarists to seven or eight-piece ensembles with almost everyone singing. You’ll rarely see a drum kit but often there will be a bodhran (sometimes two or three) or other hand drum.

Loud is not an adjective to apply to these artists and generally, every musician is a soloist at some point.

That also presents the problem that you really have to be paying attention. There is no set-it-and-forget-it. The musicians will expect you to highlight each soloist as his or her turn comes.

The bluegrass groups are pretty straight forward as far as instrumentation. There are lots of upright basses, banjos, accordions, fiddles, guitars and vocals, as well as the occasional drum kit, but not often.

These groups are mostly just down-home fun. They are generally booked on the smaller stages of the festivals, and the engineer’s biggest challenge is to contain their exuberance to the venue. Banjos are just plain loud and it can be difficult to get a balanced mix without having the whole thing get out of control.

The balladeers are the singers of the traditional pub songs, nowadays mixed in with modern folk type ballads. Think Peter, Paul and Mary. The words are not incidental – they are essential.

If you dare mix the guitar, fiddle, flute or stand-up bass too loud and drown out the crystal clear vocals, you will certainly hear about it from musicians and audience alike.

Celtic rock is the newest aspect of this genre and it has won my heart. The first time I heard a Celtic rock band, my jaw hit the floor. In my mind, rock ‘n’ roll died the final death in 1995.

But I was wrong. It simply went underground, and now I’ve found it again but with such an unexpected twist. I had no idea bagpipes and fiddles could rock out so hard! The variety is incredible and I’ve heard influences from the Beatles to Pink Floyd.

To be fair, the Celtic rock bands spill easily over into the World Music category. It’s fresh, lyrical and driving and this is where you really can ‘mix ‘em like a rock band,’ because that’s exactly what they are.

But don’t kid yourselves. These guys have just as much musical talent and savvy as any traditional fiddle player. Indeed, after the festival you will most likely find them in the hotel bar taking an equal seat in the ceili circle with the rest of the musicians.

“What’s a ceili?” you might ask. On the evening before a festival begins, and each evening during the event, you will almost always find a rather large group of the performers (and some avid attendees) gathered together in the nearest drinking hole having a grand old jam session.

It’s a great place to sit back and listen to some wonderful totally acoustic Celtic music without having to work.

Lest I forget, the fifth category would be pipes and drums. You really don’t have to worry about what to do with them. A chorus of bagpipes speaks for itself.

It’s amazing, however, at how many people will flock to a performance of a group of pipers and stay for the entire set.

A FAMILY AFFAIR
Celtic festivals are almost unanimously family affairs and should be approached with children in mind, because they will be everywhere. The production company that dresses badly, comes with an attitude and isn’t flexible won’t be asked back.

On the other hand, if you’re looking for a challenge and lots of fun, and exercise your skills at mixing, you’ll win the hearts of the musicians and word will get around.

Our biggest festival is the North Texas Irish Festival, held the first weekend in March at Fair Park in Dallas. It’s reputed to be the largest (and they proudly say the best) Celtic festival west of the Mississippi.

It lasts three days, with Saturday being the big attendance day, and has seven music and dance stages. We’ve had 20,000 pass through the gates on a Saturday alone.

My point is that these really are viable festival events and if you like mixing great music in a congenial atmosphere, this is an excellent genre to get into as long as you have the right people with the right skills to service them.

And for the women in our readership, men really do look great in kilts!

Teri Hogan is co-owner of Sound Services Inc., a sound company based in Texas. Also be sure to check out Teri’s related article, Accordions & Didgeridoos: Microphone Techniques For “Exotic” Instruments

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Lectrosonics Announces “Silent Booth” For Upcoming NAMM 2012 Show

In conducting demonstrations of the Quadra IEM (in-ear monitoring) system at the upcoming NAMM 2012 show in Anaheim, Lectrosonics notes that its booth - 6329 - will be an oasis of quiet amidst the usual show floor noise.

The use of the Quadra IEM will highlight the effectiveness of the product while simultaneously enabling the company to be a “good neighbor” to others in attendance.

Consisting of the M4R belt-pack diversity receiver and the M4T half-rack transmitter, the Lectrosonics Quadra IEM system features digital RF modulation, two or four channels of 24-bit/48 kHz digital audio, analog or digital inputs, and a unique mixing interface for users.

The Quadra system operates in the license-free ISM (industrial, scientific, and medical) band between 902-928 MHz and has a throughput latency of

<1 ms for the analog inputs.

Artists scheduled to appear at the Lectrosonics booth include Nashville guitarist Johnny Hiland, and late-night television's the James Douglas Show, among others. Visitors to the demonstrations can bring their own earbuds, or, earbuds will be provided by Lectrosonics.

“Noise has been an ongoing challenge for everyone at tradeshows, and this condition is only exacerbated during Winter NAMM,” notes Karl Winkler, director of business development at Lectrosonics. “With our Quadra, Lectrosonics is not only well positioned to demonstrate the capabilities of the system, doing so effectively enables us to avert being a contributor to the noise problem. We view this as a win-win situation for everyone. We encourage all music and audio professionals to stop by and see this equipment in action during the show.”

Lectrosonics

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