2012 Livesoundintl October

July 2009
|
www.prosoundweb.com
|
$10
THE JOURNAL FOR LI VE EVENT TECHNOLOGY PROFESSI ONALS
I N T E R N A T I O N A L
October 2012
|
www.prosoundweb.com
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$10
I NSTALLATI ON | CONCERT | THEATER | CORPORATE AV | WORSHI P | CLUB | RECORDI NG
Tech evolution
for Rod Stewart
Getting
It Right
PLUS:
THE VIEW FROM THE STAGE SIDE
NEODYMIUM, AUDIO & GEO-POLITICS
LARGE VERSUS SMALL CONDENSERS
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LS1210 ppxx Allen&Heath.indd 1 9/26/12 9:43 AM
LS1210 ppxx Allen&Heath.indd 2 9/26/12 9:43 AM
Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 21 No. 10, is published monthly by EH Publishing, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico subscriptions are $60 per year. For all other
countries subscriptions are $140 per year, airmail. All subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham, MA
01701 USA. Canada Subscriptions: Canada Post Agreement Number 40612608. Send changes of address information and blocks of undeliverable copies to Pitney Bowes International, PO Box 25542, London, ON N6C 6B2. POSTMASTER: send
address changes to Live Sound International, PO Box 989, Framingham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing ofces. Reproduction of this magazine in whole or part without written permission of the publisher
is prohibited. Live Sound International is a registered trademark of EH Publishing Inc. All rights reserved. 2012 EH Publishing. Check us out on the web at http://www.prosoundweb.com.
IN THIS ISSUE
FEATURES
14
|
Magnetic Attraction
Neodymium, audio products, and geo-politics.
by Ken DeLoria
24
|
Getting It Right
New technology for classic Rod Stewart in
concert. by Kevin Young
34
|
Outside The Cable
Creative thinking results in a wireless solution.
by Gregory A. DeTogne
52
|
Complete Coverage
Implementing a new system at 80,000-seat
Spartan Stadium. by Live Sound Staff
24
OCTOBER 2012
6
|
Loading Dock
EQUIPMENT New wireless systems,
software, loudspeakers and more.
10
|
In Prole
The pro audio life and times of Mike Scarfe
of MHA Audio. by Kevin Young
18
|
Perspective
A seasoned veteran presents the view from
the stage side. by Gary Gand
22
|
Tech Talk
The point of diminishing returns when
a little more isnt enough. by Pat Brown
30
|
In Focus
Design principles and applications of large
and small conderser mics. by Bruce Bartlett
38
|
Real World Gear
EQUIPMENT A look at recent develop-
ments and the latest models of power
ampliers. by Live Sound Staff
44
|
Show Report
The scene at the second annual LSI Compact
System Demo in Atlanta. by Live Sound Staff
50
|
First Look
An introduction to Mackies new DLM
compact loudspeaker series. by Keith Clark
58
|
Gig School
Properly maintaining dynamic and
condenser microphones. by Tim Vear
60
|
Road Test
An evaluation of the Lectrosonics Venue
wireless microphone system. by Tim Weaver
64
|
Snapshot
Developing sound for the new eTown Hall
in Colorado. by Live Sound Staff
4
|
From the Editors Desk
68
|
NewsBytes
71
|
Advertiser Index
72
|
Back Page
DEPARTMENTS
18
44
14
L1210 pp02 TOC.indd 2 9/26/12 2:11 PM
Employee of the Year
qsc.com
* K and KW Series 6-year extended warranty with product registration. 2012 QSC Audio Products, LLC.
All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S.
Patent and Trademark Ofce and other countries.
Every time you put a K Family
loudspeaker to work it comes
home with cash. It doesnt
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I N T E R N A T I O N A L
VOLUME 21 | NUMBER 10
.
c
o
m
From the Editors Desk
Publisher | Kevin McPherson | kmcpherson@ehpub.com
Editor-In-Chief | Keith Clark | kclark@livesoundint.com
Senior Contributing Editor | Craig Leerman | cleerman@livesoundint.com
Senior Technical Editor | Ken DeLoria | kdeloria@livesoundint.com
Church Sound Editor | Mike Sessler | msessler@livesoundint.com
Europe Editor | Paul Watson | pwatson@livesoundint.com
Technical Consultant | Pat Brown | pbrown@synaudcon.com
Art Director | Katie Stockham | kstockham@ehpub.com
Associate Art Director | Dorian Gittlitz | dgittlitz@ehpub.com
ProSoundWeb.com
Editor-In-Chief | Keith Clark | kclark@prosoundweb.com
Product Specialist | Craig Leerman | cleerman@prosoundweb.com
Webmaster | Guy Caiola | gcaiola@ehpub.com
Kevin Young | Gary Gand | Greg DeTogne | Bruce Bartlett
Tim Vear | Tim Weaver | Greg Stone
Live Sound International
111 Speen Street, Suite 200
Framingham, MA 01701
Phone: 800.375.8015
www.livesoundint.com
Jeff Turner | Account Executive
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603.532.4608 | Fax: 603.532.5855
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Circulation and Customer Service inquiries should be made to:
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EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSES
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One of the things that never fails to impress me about professional audio
is the constant innovation thats ongoing at all levels, all of the time.
System techs regularly formulate clever tech-
niques that improve their craft. Engineers focus
tirelessly on new mix approaches that make a
positive difference. System designers re-evaluate
their practices to upgrade the listening experi-
ence. Sound company owners seek ways of
providing better systems and services, all while
keeping an eye on the increasingly constricted
bottom line. And, manufacturers well, dont
get me started. The cycle of improvement gives a
whole new meaning to the word constant.
Another aspect of this is that some innovation grants an immediate
result, while much of it only becomes fruitful over the longer term. In
between theres the incremental improvements that are only steps to an
eventual end game. Except when that end is reached, its usually only
the beginning of another process Rinse and repeat.
This issue of Live Sound focuses on this facet of the business, and
is exemplied by our cover story. Its really interesting to nd out what
Lars Brogaard and the sound team for Rod Stewart have up their sleeves
next. Despite the fact that Stewart is a long-established top act, and that
Brogaard has been working with him for almost three decades, there is
no complacency. Rather, the drive to be better is the steady metronome
backbeat of their efforts.
Also, enjoy Greg DeTognes report regarding a wireless signal dis-
tribution approach developed over several years by Paul Beach to meet
the unique needs of a challenging application. Ken DeLorias focus on
the state of neodymium and its impact on pro audio also portends some
interesting possibilities for innovation.
While the old saying necessity is the mother of invention encapsulates
some of the motivation for innovation, it leaves out the aspect that quite
often in pro audio, invention is based upon the deep desire to improve the
art, science, and yes, business, of this industry. Enjoy the issue.
Keith Clark
Editor In Chief, Live Sound International/ProSoundWeb
kclark@livesoundint.com

ON THE COVER: Rod Stewart
performing on a recent concert tour.
(Photo by Steve Jennings)
L1210 pp04 Edit-MH.indd 4 9/26/12 10:42 AM
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LOADINGDOCK
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Sennheiser Digital 9000 d
A digital wireless system cover-
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transmission. www.sennheiserusa.com
Klark Teknik DN9610
An interface for multichannel digital

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AKG D12 VR d
A large-diaphragm cardioid micro-
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Allen & Heath ICE-16
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A 16-input/16-output audio interface in a 1 RU pack-
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drive or interface to a computer. It offers studio quality
interfacing, converting, and bi-directional streaming
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24-bit/96 kHz resolution. Alternatively, 16 channels can
be simultaneously recorded straight to a USB hard drive
or memory stick at up to 24-bit/48 kHz resolution .wav
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synchronizing the recording of many channels. It con-
nects to any audio mixer or analog source using 1/4-
inch jacks for the inputs and RCA phono connectors for
the outputs. Signal and peak metering is provided, as
is headphone monitoring. ASIO drivers and Core Audio
compliance insure full compatibility with mainstream
DAWs, including Logic, Sonar, Cubase and Pro Tools.
www.allen-heath.com, www.americanmusicandsound.com
L1210 pp06-09 Loading Dock.indd 6 9/25/12 2:33 PM
www.ProSoundWeb.com October 2012 Live Sound International 7
Martin Audio XD Series
XD12 (1-inch-exit compression driver, 12-inch cone) and XD15 (1.4-inch-exit com-
pression driver, 15-inch cone) loudspeakers provide a full sound and accurate 80- x
50-degree dispersion pattern. All transducers utilize neodymium magnets. Cones are
made of a new pulp formulation plus an epoxy treatment to ensure smooth mechani-
cal breakup and a high strength-to-weight ratio. Flux demodulating rings reduce
distortion at high excursions, and advanced cooling reduces power compression to
negligible levels. The internal crossover is switchable between passive and bi-amp
operation via an external switch. The compact,
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www.martinaudio.com
Roland Systems Group R-88
An integration of a recorder, mixer and a multi-channel interface in a portable pack-

age that provides eight discrete channels of recording plus a stereo mix. AES/EBU
digital I/O allows digitally recording from or sending to a mixing console or other
digital source. The mixer is equipped with a 3-band EQ, enabling a quality stereo
mix to be monitored and/or recorded simultaneously along with each discrete audio
track. The touch screen display facilitates device setup and control. The display and
front controls can be locked to avoid accidental operations. A 10-input/8-output
USB audio interface fosters multi-channel recording. The interface function pro-
vides a backup record mechanism, simultaneously recording all tracks to a DAW of
choice. www.rolandsystemsgroup.com
Danley Sound Labs SM-80
D
A molded-horn loudspeaker that pro-
vides loud yet highly articulate sound
from a portable package. It includes a
single 12-inch coaxial driver and paired
horn offering 8-ohm impedance. Disper-
sion is 80 degrees x 80 degrees, fre-
quency response extends from 110 Hz
to 20 kHz with 102 dB SPL sensitivity,
and the continuous power rating is 400
watts in and 128 dB SPL out, peaking at
1,600 watts and 134 dB SPL, respec-
tively. Constructed of 13-ply Baltic birch,
the SM-80 measures 25.5 inches by 24
inches by 12.7 inches (h x w x d). The
pole-mountable unit weighs 65 pounds.
www.danleysoundlabs.com
Waves Audio NS1
A noise suppressor plugin designed to

intuitively and intelligently differentiate
between dialog and unwanted noise. It
instantly analyzes and adapts to a signal
in real-time, bringing the foreground
into focus as it eliminates unnecessary
background noise. Controlled by a single
fader, NS1 also has an attenuation meter
that shows how
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www.waves.com
:: Loading Dock::
Community Professional VERIS 2 Series d
A new range of loudspeakers that includes signicant enhancements
over the existing series, including newly designed 1-inch-exit HF drivers
and a re-engineered grille design. All models offer improved crossovers,
with individually voiced crossovers on 64- and 96-degree models. Four
compact models include single and dual 6-inch and 8-inch enclosures
designed for surface mount or distributed systems, all with a fully rotat-
able square horn. Larger VERIS 2 systems include 2-way and 3-way
models with 12-inch or 15-inch woofers, available in multiple coverage
patterns. The series also includes three subwoofers: the V2-210S dual
10-inch, the V2-212S dual 12-inch, and the V2-215S dual 15-inch. All
models are available in black or white nishes and are equipped with
threaded mounting points, and a new Vertical Yoke Bracket enables
precise vertical aiming. www.communitypro.com
JBL Professional VTX-LZ-K
A laser accessory kit that facilitates the

alignment of JBL VTX Series line arrays
for optimum performance and audience
coverage. The VTX-LZ-K includes two
VTX-LZ laser units and one rechargeable
VTX-LZ-PS power supply. The VTX-LZ
employs a Class 3R green laser (less
than 5 mW, 532 nm wavelength) and is
approximately 20 times more visible than
a red laser for maximum visibility over
long distances indoors or outdoors. The
laser units attach to the VTX enclosure
suspension frame and are secured using
a quick-release locking pin. Lasers
can be mounted on either side of the
enclosure by changing the orientation
of the mount tab. The laser units con-
nect to the power supply via standard
XLR cable, and multiple lasers can be
daisy-chained, with up to 10
units powered from a single
power supply.
www.jblpro.com
Studer VistaMix
A software upgrade that provides VistaMix automatic microphone mixing for the Vista
line of digital mixing consoles. It removes the need for an operator to manually adjust all
of the faders all of the time, leaving the mics of talking participants open while closing
the mics of silent participants
in order to reduce spill and
background noise. The pro-
prietary design also increases
gain for talking mics and
reduces gain for all others
very quickly, while keeping
the amount of total gain con-
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live mix. No additional hard-
ware is required to the Vista
surface, and the new controls
are fully implemented within
the standard Vistonics screens and controls. VistaMix is available to all existing Vista
systems with SCore Live DSP engines, or by upgrading to software version 4.8 and
adding the VistaMix channels to the DSP conguration. www.studer.ch
Riedel RN.344.SI d
An interface card that provides
Riedel RockNet integration for any
Soundcraft Si Compact console via the
consoles expansion slot. In its rst rm-
ware release, the card supports 32 inputs and 32
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available at the front panel. A rotary switch is provided
for device identication and selection of up to 16 programmable routing tables. The
RN.344.SI enables the respective console to become a part of the RockNet digital
audio network and enables remote control of any RockNet microphone pre-amplier.
The RN.344.SI also supports RockNets Independent Gain Feature. www.riedel.net
Countryman H6 d
A headset microphone
available in both
omni and direc-
tional versions,
outtted with
the same capsule
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E6 omni earset mic. The
low-prole capsule measures 0.1-inch
(2.5 mm) in diameter roughly the size of a No. 2 pencil lead.
The capsule is offered in three sensitivities (7 mV/Pa, 2 mV/Pa,
and 0.7 mV/Pa), all with high dynamic range and at 20 Hz to 20
kHz frequency response. The light weight, adjustable headframe
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cable offers a break strength exceeding 44 pounds, and is inter-
changeable, able to interface to a variety of wireless mic systems
as well as digital recorders and XLR mic inputs with phantom
power. www.countryman.com
CAD Audio StagePass WX1200
A wireless microphone system providing 16-channel

frequency agile VHF operation. Diversity minimizes mul-
tipath interference. Proprietary Scan-Link technology
instantaneously scans all of the channels in the RF envi-
ronment, then selects the clearest one. The receiver then
automatically looks for and links to the transmitter to lock
in that channel. Transmitter options include the WX1200
handheld, WX1210HW condenser hypercardioid head-
worn, WX1210LAV cardioid condenser miniature lavalier,
and WX1210GTR
bodypack guitar.
Handheld and
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including on-off,
mute, low battery,
and Scan-Link status.
www.cadaudio.com
Finally, a measurement grade 22 USB audio interface
designed and built specifcally for use with Smaart v.7
Measurement Software. Gain monitoring from within
Smaart provides fast, accurate, efortless SPL calibration,
even while varying measurement signal input levels.
The Smaart I-O would like to be your friend.
For more information please visit us at www.rationalacoustics.com
Introducing the Smaart I-O
Hello Smaart v.7

You have a friend request
Confrm Ignore Send message
>>>>
THROUGHOUT HIS 38 YEARS IN PRO AUDIO, Mike Scarfe has always
placed an emphasis on the leading edge, not only in terms of the services and equip-
ment he provides through his Maryland-based company, MHA Audio, but by adapt-
ing the companys business model dramatically over time. Its a strategy that has
fostered the company as a leading regional sound reinforcement provider in the
North American market.
When Scarfe established MHA Audio in 1983, the primary focus was audio
production for high-prole artists as an extension of UK-based Malcolm Hill Asso-
ciates. Over time, however, he decided the best way to ensure MHAs growth and
continued success was to zero in on the mid-Atlantic regional market. While that
focus has evolved, the approach Scarfe takes to his work as an engineer and business-
man remains constant.
I stress providing the best quality equipment and a very high level of attention
to detail, he explains. Clients have far more options than they used to, and now
anybody with enough money can go out and start a sound company. In the 1970s and
80s, we were designing and building our own equipment most of the time.
What separates experienced audio providers from the less experienced, he adds,
is understanding what can go wrong and being prepared in advance.
Attention to detail is particularly important at corporate and political events. Its
paramount because the systems have to be particularly neat and tidy and unobtru-
sive. The events are very much end client driven, where accurately interpreting the
end clients needs is key to ensuring the company or individual hosting the event is
represented in the manner they demand. The better you know the client, the more
effectively youre able to do so, Scarfe maintains.
Consequently, MHA Audio places a great deal of stock in developing longstand-
ing relationships and personal friendships with customers. Ive been working with
most of my clients for 10 to 15 years, and about 90 percent of our business is return
business, he says, referencing the likes of IMP Productions, Live Nation, Showcall
and venues such as Merriweather Post Pavilion in Columbia, MD.
Quite beyond the fact that maintaining strong, personal relationships is a sound
business philosophy, Scarfe cites some of the friendships he developed early on as
being critical to the path hes taken professionally and personally since he rst started
working in audio in 1972.
CHANGE OF DIRECTION
Born and raised just north of London, Scarfe explains that growing up in the 1960s in
the UK, he already had gone to work at a local industry, feeling the professional direc-
tion of his life had already been laid out.
That is, until he hooked up with sym-
phonic progressive rock act Druid.
If it hadnt been for Druid, I wouldnt
be where I am now, he says. It was an
18-year-old school friend in a band say-
ing, We should get Mike to come over
and give us a hand, hes a good guy. I
immediately loved what I was doing. By
the time I was 22, Id started a sound
business of my own and was making a
living from it within a year.
Also during his time with Druid,
Scarfe encountered Malcolm Hill, who
was already making his own ampliers
and mixers in a makeshift manufac-
turing facility. We rst met when the
An attention to detail. by Kevin Young
In Profile:
MIKE SCARFE,
MHA AUDIO
Job Title: President and owner, MHA Audio
Location: Hagerstown, MD
Years in the Business: 38
Favorite Tools: Martin Audio MLA Multi-
cellular Loudspeaker Array
Worked With: Toured with artists including
AC/DC, Gary Moore, Frankie Goes to Hol-
lywood, Berlin, Gary Numan, The B-52s and
Ziggy Marley and the Melody Makers; promot-
ers and event production companies such as
IMP Productions, Live Nation, Pier Six Pavilion
Partners, AEG Live, and Showcall; and events
such as the Papal visit to Washington, DC,
Virgin Mobile Freefest, Capital Jazz Festival,
Western Maryland Blues Festival, and govern-
ment/political events.
JUST THE FACTS
L1210 pp10-13 InProfile.indd 10 9/25/12 2:38 PM
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:: In Prole::
band bought a mixer and some ampli-
ers from him. By 1976, the two began
working together and forged both a pro-
fessional relationship and friendship.
Scarfe ran Hills rental department
for several years, touring extensively
worldwide and refining his craft as a
live mix engineer. Thats how we all
learned in those days on the road. We
were denitely making it up as we went
along, he notes.
As Malcolm Hill Associates grew,
the companys roster of clients came
to include some of the biggest artists
of the era. Scarfe was touring virtu-
ally non-stop with a number of them,
including AC/DC, a band he went on
to mix almost exclusively for a decade.
Imagine being a 23-year-old kid who
ends up with a sound system. By the time
hes 24, hes working with someone whos
manufacturing and designing equip-
ment. We progressed to two, then three
systems, and by 1977, we had ve or six
sound systems touring Europe.
By 1979, we came to America with
AC/DC, and a year later, we were doing
the Back In Black tour as well as tour-
ing the world with half a dozen other
artists. Then, in 1985, we did Live Aid
at Wembley Stadium. It was a whirl-
wind, going from virtually nothing to
Live Aid in 10 years.
ACROSS THE POND
By 1983, he and Hill were also doing
more business in North America, ulti-
mately deciding to establish a perma-
nent location stateside. It was a market
where we wanted to service our Euro-
pean clients, and we believed wed be
able to do that better with a full-time
presence, Scarfe notes.
The choice of Hagerstown, MD as
the new entitys home base came about
for logistical and nancial reasons. I
could have located anywhere, but since
we were shipping equipment back and
forth by sea, somewhere on the mid-
Atlantic east coast made sense, he
explains, adding with a laugh, To be
honest, I literally went from Baltimore
and started heading west until I found
somewhere where the rent was inexpen-
sive. I settled here. I developed the busi-
ness here. I made friends and married
here. Its served me very well.
Live Aid remains a career highlight
for Scarfe. It was just unbelievable
how it came together, he says. Mal-
colm designed and manufactured all
of the speaker boxes, the amplifiers,
mixers and monitors. I was on tour in
Japan at the time with Frankie Goes
To Hollywood, and I flew in on a
Wednesday, went straight to Wemb-
ley, rehearsed for two days and did the
show on Saturday.
Just to put it into perspective, as a
company, wed never ip-opped two
FOH boards and two monitor systems
before. We were both 33, and were
doing 11-minute changeovers between
David Bowie and The Who.
By the early 90s, Hill decided to
focus on his passion for manufacturing
gear. Scarfe, however, now rmly estab-
lished in the U.S., wanted to continue to
run MHA Audio as a provider for tour-
ing artists. The two came to an agree-
ment, with Scarfe purchasing the U.S.
business from Hill in 1992.
COVERING THE BASES
While the company had already done
a variety of regional work, Scarfe soon
decided to focus on that segment of his
business exclusively, believing that, as
Scarfe and mates at the helm for the historic rst Live Aid festival at Wembley Stadium.
The new Martin Audio MLA inventory
and MHA team members (left to right)
Dave Collela, John Lee, Dave Rittenhouse,
Bruce Nelms, and Mike Scarfe.
a single owner/operator, it offered the
most viable path forward. This proved
to be a fortuitous decision, and since
2002, MHA has doubled its warehouse
space and completely replaced its inven-
tory in order to remain at the forefront
of audio technology.
Its a client driven business, and a
regional sound company is expected
to be able to cover absolutely all the
bases for sound reinforcement, he
states. Doing so effectively requires
re-investing regularly in new technol-
ogy, with one of the companys most
recent additions being a Martin Audio
MLA Multi-cellular Loudspeaker
Array (MLA) system. (Specifically,
24 full-range enclosures and 12 MLX
subwoofers.)
In addition to MLAs uniform
response, controlled coverage and
overall sonic quality, he points to the
systems compact nature as a another
plus, explaining that for the average
shed-style venue, the entire system ts
into one 26-foot truck. Since it joined
the inventory in early summer of this
year, the new system has already been
deployed at a range of events such as the
annual Capital Jazz Festival in Colum-
bia, MD, and for shows by Maroon
Five, Katy Perry, Zach Brown Band,
Luke Bryan and several others.
Scarfe adds that Martin Audio has
served as a true long-term partner with
his company over the years.I believe
in their products, and theyve contrib-
uted to our success. When we demod
MLA, the system performed beyond
my expectations, and the evenness
of coverage and the amazing vocal
coherence through the audience area
is appreciated by my clients. I believe
that this system is years ahead of the
rest of the industry and allows MHA
Audio to ensure the very best sound
for its clients.
Despite the considerable track
record, the company remains com-
pact, consisting of just a few full-time
employees, including Scarfes wife Les-
lie, who plays an integral role as ofce
administrator. Going forward, goals for
the future are as well dened as ever.
Well continue to provide an excel-
lent product and the best personnel to
keep our clients satised and wanting
more. We dont need to be the biggest
company in the world, he concludes.
I enjoy the business, working with
new technology and trying out the lat-
est equipment. We have an amazing
roster of fans and industry colleagues,
and Ive got employees who do a great
job and have the same kind of attention
to detail I do. n
Based in Toronto, KEVIN YOUNG is
a freelance music and tech writer, profes-
sional musician and composer.
>>>>
SPOTLIGHT
quency, time constants, and magnitude
of the current. If there were no opposing
force for the voice coil to work against,
it would produce only heat no sound.
Several types of magnetics have been
utilized for acoustic drivers, and also
for rotary motors. An acoustic driver is
essentially a reciprocal linear motor, as
opposed to the familiar rotary one that
runs your disk drive, your Leslie speaker,
and your Skillsaw.
In the early days, almost all loudspeak-
ers used an electromagnetic field coil
instead of a permanent magnet, requiring
a high-current DC power supply to ener-
gize the coil. Later, permanent magnets
made their debut, with ceramic materials
being the best that the industry could offer
in terms of size, weight and power.
Then came alnico, which quickly
moved to the forefront of loudspeaker
technology because it could hold a
higher magnetic charge, and thus pro-
duce greater sound pressure levels. The
term alnico is another amalgamated
word that describes an alloy of alumi-
num, nickel and cobalt.
Those rst two are pretty common,
but cobalt is a rare earth element thats
found only in certain geographic loca-
tions, mainly the Republic of Congo
and Zambia. Its used in radiology and
nuclear weapons, which limits its avail-
ability for mundane uses such as loud-
speakers. Moreover, the cobalt mines
in Africa became the subject of geo-
political issues in the late 1960s much
like neo is today with the result being
an almost complete discontinuation of
alnico in loudspeaker products.
TODAYS STANDARD
Its reasonable to estimate that a large con-
cert rig, on the road 52 weeks a year, can
save a couple of thousand dollars in annual
fuel costs by employing neo magnets as
opposed to heavier ceramic magnets. But
perhaps more importantly, large arrays of
lightweight loudspeakers can be flown
Cause you are a magnet, and I am steel. Walter Egan
MAGNETS PLAY A VITAL ROLE in hundreds of thousands of devices, rang-
ing from small toys and disk drives, to washing machines, industrial motors, and of
course, loudspeakers (and microphones). And chief among magnetic material is the
rare-earth composite called neodymium.
Its more properly known as NdFe-B, for indeed, what we casually call neo
is really a processed alloy of three elements: neodymium, ferrite, and boron. Neo is
highly coveted because it is light, small, and yet can hold higher energy than any
other magnetic material known at this time.
We like our loudspeakers to be light and sometimes we like them to be small but
we also want to pay as little as possible. The progress of neo, from an exotic material
adopted by only a handful of loudspeaker driver manufacturers to a staple that the pro
audio industry has come to rely upon, is an
interesting story. The current geo-political
challenges of obtaining neo for a reasonable
cost, and in the quantities that our industry
needs, are what this story is about.
WHATS IT REALLY DO?
Magnets are needed in drivers to provide
an opposing force for the voice coil to work
against. (In this article, the term driver
applies to both cone- and compression-
type devices.) When AC current passes
through the voice coil, it produces a mag-
netic eld thats proportional to the fre- Several grams of pure neodymium.
Magnetic Attraction
Neodymium, audio products, and geo-politics. by Ken DeLoria
L1210 pp14-17 Spotlight.indd 14 9/25/12 2:41 PM
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:: Spotlight ::
with fewer chain motors and smaller sup-
port structures. Aging/outdated infra-
structure in sports arenas and theatres is
routinely being down-rated in load capac-
ity, so the lighter the rig, the better.
The problem is that a whole lot of
concerns want neo for their products
and theres currently not enough to go
around, forcing a dramatic price increase
over the past few years. Prices have been
decreasing somewhat this year, but its
difficult to predict if the downward
trend will continue, stabilize, or reverse.
In addition to the many applications
noted earlier in this article, neo is also
used in wind generators because the low
weight permits larger units to be placed
on smaller support structures. This appli-
cation, perhaps more than any other, has
the neo industry in a jam because China,
which produces about 97 percent of
the worlds supply, stated it would stop
exporting neo in order to use the entire
supply domestically, mainly for wind
generator farms.
This plan will require about 59,000
tons of material in the coming year to
make high-strength magnets more than
the nations annual output. Fortunately,
the government later softened its position,
but the price has nonetheless skyrocketed.
While researching this article, I dis-
covered that neo isnt particularly rare
at all; its only geo-politically limited.
Theres plenty of it in the earth. In
terms of overall quantity, the amount is
approximately equal to cobalt.
But like cobalt, neo is not found
everywhere, only in certain locations
though it is more widely distributed
in the earth, geographically speaking.
Relatively few mining companies want
to engage in neo extraction and rene-
ment because the process is difcult and
expensive, as well as causing byproducts
of toxic pollutants that must be managed.
Molycorp owns a mine in the U.S.
that is the only rare earth oxide producer
in the western hemisphere, and the larg-
est outside of China. The company has
been seeking to ramp up neo production.
In September 2011, Molycorp CEO
Mark A. Smith testied before a U.S.
House Foreign Affairs Subcommittee,
stating, China is clearly warning that
they will consume more of their own
rare earths and export less, and that they
see tight supplies of rare earths as repre-
senting an irreversible trend. The U.S.
must roll up its sleeves and get to build-
ing its own domestic rare earth manu-
facturing supply chain. We must move
as rapidly as possible to a position where
our economy and our national security
interests are no longer tied to declining
Chinese rare earth exports.
ALTERNATIVE APPROACHES
As a frame of reference, Mark Gander,
vice president of JBL Professional, notes
that that a typical 12-inch cone driver
and a 1.4-inch compression driver each
require about one-half pound of neo-
dymium. While that might seem only
a small amount (to produce big results),
still, the consumption of neo, when
spread over the many different sizes and
types of drivers used in todays profes-
sional sound systems, adds up quickly. A
single, large-scale tour could account for
as much as half-ton of neo usage.
In the meantime, some in pro audio
are hedging their bets by re-visiting other
magnetic materials. Like all loudspeaker
manufacturers worldwide, weve been
wrestling with the tremendous price rise
of neodymium magnets over the past
year and a half, Gander says. Weve
seen our magnet prices go up an average
of ve to six times [from] a year or so ago.
The new paradigm forced a re-evaluation
of the neodymium value proposition
and inspired a deep dive into a holistic
approach to the creation of new products.
Necessity is the mother of invention,
and weve been asking new questions
about real world applications, he con-
tinues. The answers have taken us down
some new paths and weve been pleasantly
surprised with the fruits of our labor.
Earlier this year, Italy-based driver
designer and manufacturer FaitalPRO
introduced several new families of loud-
$29
2007 2008 2010
4th Quarter
2011
4th Quarter
$27
$80
$244.20
Neo Prices
Per Kilogram
in U.S. Dollars.
The basic parts and construction of a cone driver, including the magnetic components.
speaker drivers with ferrite magnet struc-
tures. This effort includes more than 30
new products in every category from low-
to mid- to high-frequency units.
FaitalPRO indicates that the deci-
sion to create the new product lines is
tied both to market demands, which
sometimes specically require products
with ferrite magnets, as well as expand-
ing the product catalog with units offer-
ing a new tonality. Further, the company
stresses that it is not replacing any of its
current neodymium models.
Its not a secret that the cost of neo-
dymium is currently at a record high, and
therefore the market will certainly wel-
come our new ferrite loudspeakers. But
it surely will not do so just for a matter
of cost, states FaitalPRO overseas sales
manager Flavio Naggi. Were offering an
alternative based on new, soft and rened
acoustic tonalities; the current product
range will remain, and the new families
with a ferrite heart will join them.
Another leading driver company,
Acoustica Beyma, headquartered in
Spain, has also been at work devising
alternatives. Pedro Enguidanos of Beyma
notes that one area of focus has been
developing enhanced coil cooling, which
has allowed the use of smaller coils, while
also fostering ferrite-based designs.
CRYSTAL BALL
Will neo continue to reign supreme as the
magnetic material of choice for premium-
grade pro audio loudspeakers? Or will the
high present day cost force its usage into
a rarefied product strata where price is
no issue? Only time will tell, particularly
if alternative production sources for neo
begin to provide signicant yields, which
would likely bring prices down.
As weve discovered, driver manufac-
turers are working diligently to develop
alternate ways and means of providing
their customers with high-performance
products at a more reasonable price.
And perhaps a new magnetic alloy will
be discovered, just as neodymium was
discovered in 1885 by Austrian chem-
ist Carl Auer von Welsbach. As Gander
noted earlier, Necessity is the mother
of invention.
So the next time you rig that large
line array system in an arena or when
youre placing that small, lightweight
loudspeaker on a stand at a club keep
in mind the complex supply chain and
multifaceted international political issues
that actually dictate vital factors such as
price and performance in our own little
corner of the global economy.
KEN DELORIA is senior technical
editor for Live Sound International
and has had a diverse career in pro audio
over more than 30 years, including being
the founder and owner of Apogee Sound.
>>>>
PERSPECTIVE
Hunting
Gremlins
The view from the stage side.
by Gary Gand
MUCH PRO AUDIO INDUSTRY
humor revolves around techs versus
musicians. By their very nature, techs
are knowledgeable problem solvers. The
ip side of this nature are musicians who
dont let knowledge get in the way of
their artistic pursuit. Hence the endless
putdowns:
Can you read music? Not enough to
hurt my playing.
What do you throw a drowning gui-
tarist? His amp.
Why did the drummer leave his
sticks on the dashboard? So he can park
in the handicap zone.
And on and on.
Musicians arent clever enough to
think up tech jokes, so it remains a
one-sided affair. But to be fair, without
musicians, techs would have nobody to
work for (or pick on). Therefore one
needs the other (and vice versa).
Where I come in is Im that rare
breed of musician and mix engineer.
I decided early on in my music career
(age 10) that Id better pay attention
and gure out what all those knobs do
or I would be forever at the mercy of
stage hands, janitors, and AV geeks to
make sure the mic was on, didnt feed
back, shock me to death, or sound like
a bullhorn. This would most certainly
obliterate my unusual amount of tal-
ent and artistic creativity some music
critics quote, not mine.
I became so adept at the tech side
that when I decided to retire from my
night gig as guitar gunslinger in my mid
20s, it wasnt long before former band
mates started calling me up to run sound
for them. This quickly led to building
my own loudspeakers in the garage and
then going on the road with some popu-
lar bands of the day, such as rockabilly
rebel Commander Cody (Hot Rod
Lincoln), new country star Emmy Lou
Harris, and Nashville singer songwriter
Larry Gatlin, to name a few favorites.
After 30 years or so, instead of tak-
ing up golf, I decided to get back to
playing in a rock band. (Your ngers
never forget.) With the equipment
revolution in full rage, I could get all
of the sounds and portability that we
lacked in the early 1970s. No more
lugging around a Marshall stack, a
pair of Altec A7s, a 200-pound rack
of power amps and effects, and a piano
(or Hammond B3). Weve now been
playing for several years, covering all
of the old terrain from clubs to concert
halls, outdoor fests to opening slots
with national headliners.
OLD IS NEW
And in this process, Ive become the
musician we all dread: the guy in the
band who thinks he knows about
sound. Im the grouchy old dude who
has seen it all and tells the local sound
company what I want, the way I want
it, and Ive got the road bacon to prove
that Im right.
The reason Im laying this out is
that Im going to tread ever so heav-
ily on a scared stretch of ground that
has been detoured around for the past
few decades. Ill probably make some of
you mad, but for the greater good. The
primary focus is being in the band and
dealing with newer (less experienced)
and/or attitudinal sound people.
When I started mixing in the early
1970s, there were already plenty of
seasoned pros in this industry. These
were cats that had been doing it for
as long as ve years and thought they
The author slingin his axe prior to getting behind the console for a gig at the Super-
dome in New Orleans.
If a player in the band
makes a reasonable
request for a specic
mic, try going with it.
L1210 pp18-21 Perspective.indd 18 9/25/12 2:46 PM
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:: Perspective::
knew a lot. My neck hairs used to stand
up when these folks would come at me
with their crazy ideas.
I was the new kind of tech who
knew about bi-amping, hypercardioid
mics, graphic equalizers and a whole
slew of (then) new technology very
much like the young people of today,
who have digital everything, are ISP
and MIDI savvy, and can text with
one hand while drinking coffee (or Red
Bull) with the other.
So with all of this technology,
knowledge, and super-duper
gear, why do I run into the
same old basic issues that
have been around since the
rst sound tech unrolled the
rst snake? Because just like
the common cold, the same
gremlins haunt our industry
to this day.
HERE WE GO
Recently I walked onstage
at a Chicago summer out-
door fest. You know the
setup: five stages, lots of
food vendors, drink tickets,
wrist bands, too many bands
with too little changeover
time, and multiple sound
companies all subbing gear
from each other to cover the event. All
varieties of loudspeaker boxes, amps
and consoles, all of the name brands
you read about in this magazine. (As I
always say, There is no bad gear any
more. Even the worst stuff today was
somebodys A-plus rig 10 years ago.)
Suddenly comes the dreaded POP-
BOOM-THUD. The iPod stops and
a hush falls over the PA. We all know
that feeling of time standing still when
the PA goes completely dark. Now, I
dont panic because its not my prob-
lem, Im just in the band. I go about
getting my band mates onstage and
set up (in other words, herding cats),
then hand off our stage plot to the
monitor engineer, asking him to take
a look after they get the rig running
again. No pressure. A few minutes
later THUD-BOOM-POP as the PA
springs back to life.
Its easy to say those guys are idi-
ots. But thats neither the real issue
nor the solution. Turns out the digital
console was sitting on some road cases,
and when the house tech returned
from a BBQ break, he tripped over
the power supplys AC cable. Console
off. Any of you who work with digi-
tal consoles know they take a while to
boot up again.
But as a mere guitar player in the
band, let me tell you that it doesnt
matter if its a guitar amp or a house
console: get a UPS, run the power
cable where it cant get stepped on,
and tie it to an immovable object so
it cant get unplugged. You can have
the highest tech gear in the world, but
if it gets unplugged, it doesnt work.
Thats why the troubleshooting por-
tion of every product manual from a
washing machine to a hairdryer says
is it plugged in?
LISTENING IS A SKILL
Long ago, a famous acoustic guitar
picker I was so looking forward to
working with told me to give him an
SM57 for his guitar. But Id already
made a special trip to borrow a really
nice studio condenser mic to use on his
legendary pre-war Martin D28 dread-
nought guitar. Im really going to take
care of this guy and show him how its
done right.
He took one look at that high-
end mic and said, Nope. I want an
SM57. After I gave him
all the reasons why the mic
I brought would be better,
he replied, I like an SM57.
I know what it does. I know
where to stand. I know what
it sounds like in my moni-
tor. Just put a 57 out there
for me and I ll take care of
the rest.
By giving him a mic he
knew, he was able to perform
at his best without having to
worry about an unfamiliar
pickup pattern and strange
overtones from his monitor.
He could just play and forget
about the tech side of things.
Lesson learned.
So a few weeks ago, Im
setting up my guitar amp, which Ive
spent years tweeking to get all of the
sounds needed for this band. My volume
level is sound tech friendly, and all of
my pedals are tuned to stay within a few
dB of each other for subtle dynamic and
tonal changes. The mix engineer gets an
optimal signal and thus can spend his
afternoon ignoring me and running the
faders for the other musicians.
The sound companys mi c of
choice was a popular contemporary
dynamic model thats simply too full
and warm for the sound Im going
for within the context of a seven-
piece blues rock band that includes
Can I just get a 57? Bueller? Anyone?
sax, harmonica, a fat B3 organ sound,
as well as two folks playing percus-
sion at times along with a drummer.
This mic was fine for the multiple
80s tribute quartets that had been
on before us. You know these bands:
guitars, bass, oversize drums, and an
androgynous lead singer. Everyone in
black T-shirts in the brutal Midwest
sun, Ready to party!
I asked the young stage tech to give
me an SM57 instead. Incredulous, he
responded, This is for the house engi-
neer. This is what he wants. I replied,
Im the guitar player; this is for me. My
amp sounds best with an SM57.
We dont have another one, came
his caustic response. Me: OK, do you
have an SM58 (same mic with a wind-
screen)? He gave me the evil eye as he
left to scrounge up an SM57, which
he basically threw in front of my amp.
(At least he put it on a stand, instead of
hanging it off the amp handle.)
Moments later I sound checked my
amp through the PA, running through
my ve most used tones in about two
minutes. The house engineer reports
back through the wedges, Perfect. Next
lets hear some keys. A recording of the
show conrmed my guitar sounded like
it should. I rest my case.
If a player in the band makes a rea-
sonable request for a specic mic, try
going with it. Maybe that musician
has done the research and knows from
years of experience just how it works
or maybe its superstition or wanting to
feel secure. Whatever the reason, try
listening and then collaborating, and
you just might get a better show and an
easier day. n
GARY GAND is president of Gand
Concert Sound (www.gandconcertsound.
com) in Glenview, IL. GCS has been on
the forefront of large-scale audio since the
1970s and are known in some circles as
the NEXO guys.
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TECH
TALK
>>>>
INTUITION IS ONE OF THE MOST VALUABLE tools
of the sound system designer. But sometimes intuition can lead
us astray. Humans tend to think in terms of linear relation-
ships rather than proportional relationships. But most signi-
cant changes in an audio system are related to the proportional
change rather than linear change.
For example, a 2-to-l power ratio produces a 3 dB
increase in level, regardless of the initial power. A 1 watt
to 2 watt increase produces the same proportional change
as a 500 watt to 1000 watt increase not exactly intuitive.
This is why audio relationships are normally plotted on
logarithmic scales.
Also interesting is the fact that it usually requires a 2-to-l
change to make a signicant difference when human percep-
tion is considered. Most have heard the riddle of the doubling
penny. A ruler offered a man the choice between a $1 million
lump sum payment or a single penny that would be doubled
each day for one month. The wise man took the penny real-
izing that the 2-to-1 growth rate would make him far wealthier
than a mere one million dollars. In fact, there would quickly
come a time where it would be no longer possible to double the
sum with each successive day, because the man would already
possess all of the wealth of the kingdom!
Audio system designers must understand when they have
reached the point of diminishing returns the point when it is
no longer practical (or possible) to double the parameter being
considered. Lets look at a few examples.
AMPLIFIER POWER
One electrical watt makes a handy reference quantity when
considering what size amplier to buy. This relatively small
amount of power can only be practically doubled about 10
times before one reaches the point of diminishing returns.
In other words, the rst few 3 dB level increases are quite
economical. Then it becomes increasingly more difcult and
expensive to get the next 3 dB. This makes amplier peak-
room pretty expensive, since it must be added after the power
required to produce the perceived loudness is determined. Each
3 dB reduction in available peakroom reduces the amplier
size by one-half. Peak limiters are an important part of the
signal chain!
System designers must have other ways of achieving the
desired level. And these other methods will also reach a point
of diminishing return. One of these ways is increased loud-
speaker directivity.
DIRECTIVITY FACTOR
An omnidirectional loudspeaker radiates sound in all direc-
tions. It is said to have a directivity factor (or Q) of one. If
the sound radiation is limited to one-half of a sphere, then
the directivity factor becomes 2 and the broadband sound
level increases by 3 dB. The next 3 dB requires that the
directivity factor be increased to 4, and so on. After about
ve doublings, the system designer reaches the point of
diminishing returns.
Once the Q is 32, it must be increased to 64 to get another
3 dB of gain. And once at 64 it must increased to 128. This is
one reason why medium-Q (Q <= 20) loudspeakers dominate
the marketplace. They mark the point of diminishing returns
for achieving gain through directivity at midrange frequencies.
Also consider that since directivity is related to wavelength,
a horn diameter must double in size to extend its low frequency
control by one octave. This makes horns that extend below 250
When a little more isnt enough.
by Pat Brown
Diminishing Returns
L1210 pp22-23 Tech Talk.indd 22 9/25/12 3:29 PM
Hz impractical for some applications. Weve reached the point
of diminishing returns.
DIRECT & REVERBERANT
Another way to increase the direct eld level is through the
use of multiple loudspeakers. Adding a second loudspeaker
provides a 3 dB broadband level increase. But the next 3 dB
increase requires four loudspeakers, and the next, eight. Soon
we have more loudspeakers than can be practically transported.
The point of diminishing returns principal can also work
for the system designer. In reverberant spaces, adding a sec-
ond identical (and identically powered)
loudspeaker to cover some remote listen-
ers increases the reverberant eld level by
3 dB, often hindering communication in
the space. It takes two more to drive the
reverberant level up another 3 dB, and
four more for the next 3 dB.
Eventually, it simply doesnt make
much difference to the reverberant eld level when more loud-
speakers are added. Once you have 100, you can add 100 more
with only a small reverberant level increase.
LEVEL, DISTANCE
The inverse square law states that the sound level will drop by
6 dB when the distance from a point source is doubled in a free
eld. This means that sound level will fall much more quickly
near the source than it will at remote distances. This makes
it difcult to contain the sound produced at outdoor venues,
which is often a source of aggravation to neighbors.
It also makes it difcult to achieve even sound coverage
of large audiences from ear level loudspeaker placements of
point-source like devices. Overhead placements equalize the
distance differentials to various seating positions. The desire of
many designers to produce an acoustic image near the talker
has resulted in many poorly performing systems.
DAMPING FACTOR
Loudspeaker damping can be improved by reducing the resis-
tance of the speaker wire, but only to a limited extent. There
quickly comes a point when it is no longer practical to halve
the resistance by increasing wire diameter or by shortening
its length.
When a user realizes that a proportional change is
required to improve performance, they will quit wasting time
and money trying to take their speaker wires past the point
of diminishing returns.
OTHER AREAS
Of course proportional relationships are not limited to sound
radiation. Light behaves in similar fashion. Keep that in mind
the next time you shop for video projectors.
A doubling of lumens is required for a signicant change,
so upgrading from 800 to 1000 lumens is likely to be a disap-
pointment. In the computer world, processor speed and system
RAM are also perceived proportionally. Changes in either that
are less than double the initial amount are probably not good
investments. (Other than psychologically!)
Our current technology will reach a
point of diminishing returns within a few
years, limited by the speed of electricity
across circuit boards. The same would
be true when comparing the horsepower
ratings when you shop for your next
automobile, or the BTU ratings of space
heaters. Proportional changes are what makes our invest-
ments grow with time, and why the time in the stock mar-
ket is what provides the return on investment. (Or at least it
used to.) Those who start investing at a young age with little
money can end up with much more than those who invest
heavily at a later time.
The principle of proportional change is the very heart of the
decibel system. System designers that are not using the deci-
bel are often responsible for large expenditures that produce
little benet, not realizing that they have reached the point
of diminishing return with some aspect of their design. The
prudent designer will realize when a different path will produce
a more signicant result. n
PAT & BRENDA BROWN lead SynAudCon, conducting
audio seminars and workshops around the world. For more
information go to www.synaudcon.com.
Designers not using
the decibel are often
responsible for large
expenditures that pro-
duce little benet.
L1210 pp22-23 Tech Talk.indd 23 9/25/12 3:29 PM
New technology
for classic
Rod Stewart in
concert.
by Kevin Young
Lars Brogaard has been working
with Rod Stewart for 27 years, and over the
course of that time, the sound reinforce-
ment rig used for what he has occasion-
ally described as a never-ending tour has
evolved substantially to incorporate new tech-
nology, meet changing performance demands,
and exceeding the expectations of the audience.
Stewarts recent concert tour of North American
arenas proved no exception, with the system, supplied by
touring company Major Tom of the U.K., headed by the new
Meyer Sound LEO self-powered linear system (see sidebar
on page 28). Brogaards use of Meyer components began
in 2004 when he specied MILO line arrays for a Stewart
tour. The new LEO-M line arrays were joined this time
out by Meyer 1100-LFC low-frequency elements, Galileo
Callisto loudspeaker management, as well as MICA, MILO
and UPA-1P boxes to handle various ll needs.
The manner in which Brogaard deployed the loudspeak-
ers evolved over the course of the tour, and this approach will
continue going forward, he notes. At the outset of the tour,
the main left-right arrays were comprised of 12 LEO-M
cabinets own above four MICA down lls. These were
anked by side coverage arrays, each com-
prised of 14 MILO elements. Meanwhile,
ve 1100-LFC subs were own directly
behind the main arrays, with three more
on the group.
Now, however, were ying three 1100-
LFCs with two spacer bars that are the same
size as an 1100-LFC, Brogaard notes. So we
have six 1100-LFCs per side in the whole system, for
up to 18,000 people, which is rather impressive, I think.
He also prefers to y main and side arrays as far apart as
possible. Many people place them about 60 feet apart, but I
try go out farther when possible on an outdoor show, up to
120 feet apart, he explains. This results in an improvement
in overall sound imaging throughout the venue and less spill
back onto the stage.
And while hes pleased with the additional horsepower
offered by the new loudspeakers, it wasnt about pinning the
audience to the back wall with massive amounts of SPL.
Rather, his decision was made primarily due to a desire for
additional dynamic range.
We used to be very loud in our youth, but weve gotten
away from that, he says. Currently Im running about 103 dB,
RIGHT
GETTING IT
>>>>>>>>>>>>
>>>>>>>>>>>>
L1210 pp24-28 Rod Stewart.indd 24 9/25/12 2:50 PM
C-weighted. Its the right level, particu-
larly for an audience thats getting older
and isnt interested in getting thumped
anymore. Also, the rejection off the back
end of the cabinets is fantastic.
Its a strategy particularly important
for this gig, he notes, referencing Stew-
arts open mic technique and the fact
that the entire band is on in-ear moni-
toring (IEM). With LEO, I can get
close to 5 dB more level without inter-
fering with whats happening on stage.
(Side note: Stewart and his band were
among the rst to use IEM exclusively
on stage, starting with Garwood systems
in the early 1990s. Currently theyre on
Sennheiser 2000 Series systems.)
The switch to the Galileo Callisto
loudspeaker management platform is
also recent. Developed for LEO, its
based on what Brogaard describes as
a more sophisticated interface and a
greater degree of control for each ele-
ment in the LEO system.
Brogaards choices are also motivated
by a preoccupation for streamlining the
live rig as much as possible. With the
1100-LFCs flown behind the main
arrays, it looks like we have hardly any
speakers there, so the audience has
a better view of the shows video and
lighting elements, rather than looking at
a big stack of PA, he notes. In addition,
powered loudspeakers make for easier
setup and tear down and less signal
loss. Its also more efcient travel-wise,
because youre not dealing with a lot of
amp racks, he adds.
Early Adopter
The desire to travel lighter also informs,
at least in part, his preference in con-
soles. I used to have racks and racks
of outboard gear, but I have close to
Lars Brogaard mixing
at his SD7 console.
In the foreground is a new LEO-M linear
array, backed by ve own 1100-LFCs.
A MILO array for side coverage is in the
background.
:: Rod Stewart ::
nothing now because its all onboard,
he notes. A long-time DiGiCo user,
Brogaard rst took a D5 Live console
on tour in 2001 while beta testing the
prototype for DiGiCo and, then, in
2007, was the rst to use an SD7 on a
tour. The move to the SD7 was predi-
cated by the consoles overall layout and
higher sampling rate. I think the SD7
provides improved low and high end in
comparison with the D5.
When it comes to monitors, more is
not less, more is just right. On stage, two
identical monitor rigs each consisting
of a pair of D5 Live 112EX consoles,
two Lexicon PCM 91 effects units and
four Yamaha 990 or 900 reverbs are
deployed. One is devoted to Stewart
and background vocals, mixed by Sven
Jrgensen, while the other, manned by
engineer Mark Willett, is used for the
nine instrumentalists in the band. Put
simply, its the best way to ensure every-
one on stage has eyes and ears on their
mix as often as possible.
Like his choice of stacks and con-
soles, Brogaards familiarity with prod-
ucts by AKG, Shure and Neumann
inuenced the tours microphone pack-
age. Drums were almost exclusively an
AKG matter, outtted with a D 112 for
kick, two D 5s for snare top and bottom,
a C 451 on hi-hat, and C 419s on toms.
Three Neumann KM 184s handled
overhead.
We ddle around with placement
most days, Brogaard says. The kick
is pretty consistent, but the snare mics
never seem to end up in the same spot.
We try to place them so they point
across rather than straight down, so we
get the rim shots and as much rattle
as possible out of the bottom mic. A
similar mic set was applied for percus-
sion, with AKG C 414s as overheads.
With the exception of the Leslie
cabinet for keyboardist Charles Kentis
Hammond B3, which were miced with
an a C 451 on the upper speaker and
D 112 on the lower, all keyboards were
mixed down to two channels and run
direct into Radial direct boxes.
Working Well
Shure SM57s, as usual, were the exclu-
sive choice on electric guitar cabinets.
Both guitarists also have dedicated
acoustic channels (one 6-string each
and one 12-string), as does Stewart
and string player Janna Jacoby, who
played acoustic in one song. Radial DIs
were also the choice for bass, acoustic
guitars, Jacobys violin and mando-
lin, and the bands 3-piece horn sec-
tion. Horns were captured with AKG
C 418 clip-ons, all running through AKG
PT 4000 wireless.
All vocalists sang through AKG
C 5900s, Stewarts working with a
PT 4000 wireless system. I did a lot of
work with AKG in the early days when
they rst started coming out with wire-
less systems, and they just work really
well for Rod, Brogaard explains. The
Members of the sound and production team for the recent Stewart tour, left to right,
Mark Willett, Brian Thorene, Mike Smeaton, Tristan Nelson-Hauer, David Vinnicombe,
Lars Brogaard, and Sven Jrgensen.
A dramatic upward look at the production, including the new arrays.
Yamaha Commercial Audio Systems, Inc. P. O. Box 6600, Buena Park, CA 90620-6600 2012 Yamaha Commercial Audio Systems, Inc. www.yamahaca.com
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LS1210 ppxx Yamaha-CL.indd 1 9/12/12 1:34 PM
:: Rod Stewart ::
5900 is a very smooth microphone.
Theyve changed the capsule a little
bit, so its a bit more open than it used
to be, so were still trying to polish up
the old ones and use them because they
work really well for his voice.
Following a round of promotional
dates coming up in support of Stewarts
rst Christmas album, Merry Christ-
mas, Baby, as well as the publication of
his autobiography by Random House,
Brogaard intends to further tweak the
system in anticipation of a 2013 tour.
The next thing is networking, he says.
Each box has its own DSP control, so
we still end up running a lot of copper.
I want to talk to Meyer about nding a
way to do that in a smarter way with a
digital signal path.
Stewart s popul arity endures,
exemplied by overall album sales in
excess of 150 million and 18 Grammy
nominations. But what Brogaard
loves about his gig has nothing to do
with sales stats or the hardware lining
Stewarts mantle. Instead, its rooted
rmly in his respect for Stewart as a
performer, artist and individual. Hes
an extremely musical person who gives
an enormous amount on stage, and
thats what makes this job for me.
And by constantly working to update
the live concert rig, hes doing all he can
to ensure the audio performance gives
just as much every night. I think Ive
done close to 3,000 shows with the guy,
so were hoping were going to get it right
sooner than later, he says, laughing. n
Based in Toronto, KEVIN YOUNG is
a freelance music and tech writer, profes-
sional musician and composer.
LEO marks Meyer Sounds rst live sound product packaged as a system,
consisting of the self-powered LEO-M line array loudspeaker, 1100-LFC low-
frequency control element (also self-powered), and Galileo Callisto loudspeaker
management system. MICA arrays can be integrated seamlessly as down lls,
and JM-1P as in and out lls.
Because of its linearity, LEO can translate a mix to the audience with preci-
sion, with sonic tonality and balance unchanged regardless of levels. As a
result, the engineer can focus more on the mix rather than compensating for
unpredicted behavior found in non-linear designs.
LEO-Ms REM manifold, cone and compression drivers, and the precise
phase and magnitude alignment are all specically intended to enable accurate
vertical and horizontal coverage control, even at continuously high output levels.
Meyer Sound also states that as a 2-way element, LEO-M has fewer crossovers
and interactions between different drivers, and facilitates an even frequency
response across all frequencies.
An optimally tuned, vented cabinet houses the 1100-LFCs two linear, high-
excursion 18-inch cone drivers. A 2-channel Class AB/H bridged amplier with
complementary MOSFET output stages supplies ample continuous and peak
power to the drivers. The amplier, control electronics, and power supply are
integrated into a single, rear-mounted module that is eld replaceable. The
1100-LFCs operating frequency range is 28 Hz to 100 Hz.
Note that Meyer Sound will be presenting a webinar on ProSoundWeb on
November 15 at 2 pm (U.S. Eastern time) to further discuss and explain its work
on sound system linearity. Go to the home page at www.prosoundweb.com
and click on the webinar icon on the home page to register.
About LEO
.c
o
m
L1210 pp24-28 Rod Stewart.indd 28 9/26/12 9:47 AM
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LS1210 ppxx Sennheiser.indd 1 9/17/12 11:05 AM
>>>>
INFOCUS
Size
Matters
Comparing large- and small-
diaphragm condenser mics.
by Bruce Bartlett
THERE ARE TIMES with the choice
of a microphone to best meet a par-
ticular application comes down to a
large-diaphragm and small-diaphragm
condenser model (LDC and SDC,
respectively). But what do these terms
even mean, and what are the pros and
cons of each?
An LDC has a diaphragm diameter
of 1 inch or larger, while an SDC dia-
phragm is under 1 inch. That simple
spec has a wide range of effects on the
mics performance.
SENSITIVITY & NOISE
All else being equal, an LDC is more
sensitive than an SDC, and also tends to
generate a higher output voltage, given
the same input SPL. Typical LDC sen-
sitivity is about 22 mV/Pa, while typi-
cal SDC sensitivity is about 10 mV/Pa.
(One Pa or pascal is 94 dB SPL.)
Why is a larger diaphragm more
sensitive? Remember that a condenser
mic is made of a conductive diaphragm
next to a conductive backplate. Those
parts are charged with a bias voltage
across them, forming a capacitor. When
sound waves vibrate the diaphragm in
and out, the capacitance varies in step
with the sound waves, which in turn
generates a signal voltage that varies in
step with the sound waves.
The changes in capacitance due
to the vibration are bigger for a large,
high-capacitance diaphragm than for a
small diaphragm, so the output signal
voltage is higher for a large diaphragm.
Also, just as a large sail moves a boat
with more force than a small sail, sound
waves force a large diaphragm to move
more than a small one. The greater
diaphragm displacement in the LDC
results in a higher signal voltage.
Because an LDC provides a stronger
signal above the noise oor of the mics
electronics, the signal-to-noise ration
(S/N) tends to be higher. So an LDC
is often a good choice when amplify-
ing (or recording) a quiet instrument or
ensemble from a distance without add-
ing noise from the mic or mic preamp.
Thats why an LDC excels as an ambi-
ence or room mic.
FREQUENCY RESPONSE
Again, all else being equal, most LDC
directional mics have a deeper low-fre-
quency response than SDC directional
mics (Figure 1). Thats because the
resonance frequency of the diaphragm
is lower in the LDC due to the dia-
phragms higher mass.
The response difference also could
be an intentional design decision. So if
you want to capture a deep, authorita-
tive tone from tom toms or a vocal, you
might make an LDC your rst choice.
On the other hand, the smaller mass of
an SDCs diaphragm helps it respond
better to extreme high frequencies as
with cymbals.
Suppose youre using overhead mics
At left, an Audio-Technica
AT4041, an example of an
SDC; at right, an AKG C 414
XLS, an example of an LDC.
FIGURE 1 The published frequency responses of a Neumann U 87 Ai, an LDC
(above), and a Neumann KM 184 A, an SDC.
L1210 pp30-33 In Focus.indd 30 9/25/12 2:54 PM
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LS1210 ppxx DiGiCo.indd 1 9/24/12 10:39 AM
:: In Focus::
on a drum set. If you want those mics to
pick up mainly the cymbals, use a pair
of SDCs because they have less low end.
If you want to pick up the entire set
including toms with overhead mics,
use a pair of LDCs because they tend
to have more low end.
Note: an omnidirectional condenser
mic of any size tends to have an excel-
lent low-frequency response. Because
of the physics of an omni condenser
design, the mic responds well to very
low frequencies, independent of the
diaphragm size.
Most LDCs have a grille structure
surrounding the diaphragm. That grille
causes internal reflections and filter-
ing, which usually results in a rougher
frequency response than with an SDC,
which lacks that grille.
PROXIMITY EFFECT
Directional mics have a rise in low-
frequency response when used close to
a sound source. Its called the proximity
effect. An SDC tends to roll off more at
low frequencies than an LDC.
So the proximity effect emphasizes
the mid-lows in an SDC, but empha-
sizes the deep lows in an LDC. As a
result, an up-close SDC may have a
puffy midbass boost a coloration
less likely to be heard with an LDC.
Because its proximity effect tends
to sound better, an LDC is the most
popular choice for micing vocalists in
the studio.
As a side note, the proximity effect
is a low-Q phenomenon (about +3 to
+6 dB per octave). When rolling off the
lows to compensate for a mics up-close
bass boost, use a broad, low-Q lter set-
ting such as 0.5.
TRANSIENT RESPONSE
Because of its smaller mass, an SDC
diaphragm responds more quickly to
transient sounds than an equivalent
LDC. This makes an SDC a good
choice whenever for capturing fast
transients cleanly, as with an acoustic
guitar, metal percussion, or cymbals.
OFF-AXIS COLORATION
Most SDC mics have less off-axis color-
ation than LDC mics. Heres why.
When sound waves approach a mic
diaphragm off-axis, they travel across
the diaphragm. Each sound wave has a
high-pressure peak and a low-pressure
trough. High-frequency sounds with
small wavelengths tend to partially can-
cel due to phase interference when
the waves pass across the diaphragm.
The smaller the diaphragm, the less
phase shift there is across the diaphragm
from a side-arriving sound wave. Less
phase shift means less cancellation of
high frequencies. In other words, an
SDC tends to have a atter high-fre-
quency response off-axis, while an LDC
tends to roll off in the highs.
Also, most LDC designs mount
the mic capsule inside a cylindrical
housing or grille (Figure 2). That cre-
ates reections and ltering inside the
grille which affect the mics frequency
response and polar pattern.
In contrast, in most SDC mics the
capsule is mounted on the end of a
stick- or pencil-shaped housing (Fig-
ure 3). The capsule has no grille around
it to mess up its frequency response and
polar pattern another reason for the
SDCs lack of off-axis coloration.
When is off-axis coloration a prob-
lem? Whenever sound approaches
the mic at a wide angle away from
the front. Examples are an orches-
tra, grand piano, or other large sound
sources. Because SDC mics pick up
highs well off-axis, they nd use as a
stereo pair to capture an orchestra or
symphonic band.
Off-axis coloration is less of an issue
when micing studio singers because
they tend to stay on-axis. However,
leakage comes into the mic from all
angles, so an LDC tends to color leak-
age more than an SDC.
PSYCHOLOGY 101
Specs aside, consider the psychologi-
cal effect of a larger mic on a singers
FIGURE 2 A large-diaphragm cap-
sule is usually housed inside a large
vertical cylinder. It is side-addressed.
FIGURE 3 A small-diaphragm capsule is usually mounted on the end of a narrow
cylinder. It is end-addressed.
performance. Lets face it: an LDC in
a shock mount just looks cooler than
an SDC on a clip. Singers feel special
when their microphone looks large and
important.
An LDC side-addressed design
looks more like a passive ear, saying
Im listening. An SDC points accus-
ingly at the singer, saying youd better
watch it.
Choose an LDC when the applica-
tion needs:
v Low noise and high sensitivity
v Deep low-frequency response
v Good-sounding proximity
effect on singers
v A cool look
Some applications: Studio vocals,
ambience, deep-sounding drums,
micing a drum kit overhead when the
overhead mics are the main pickup
for the toms, quiet or distant instru-
ments or vocals, distant single-mic
technique for old-time for blue-
grass bands.
Choose an SDC when the applica-
tion needs:
v Extended high-frequency
response
v Flatter frequency response
v Increased directivity
v Lower handling noise
v Excellent transient response
v Low off-axis coloration (A wider
pattern at high frequencies)
Some applications: Acoustic instru-
ments, percussion, cymbals, orches-
tral stereo micing, and spot micing
FINAL NOTE
The specifications of any particular
mic, and its sound, are often more
important than whether that mic is
an LDC or SDC. You might come
across an LDC with poor S/N or poor
low-frequency response. A particular
LDC might sound brighter than an
SDC. It depends on the individual
mics design.
For example, an Audio-Technica
AT4041 is an SDC, but it has an excel-
lent response down to low frequencies.
Dont be locked into using an LDC
when an SDC might sound better, and
vice versa. The old adage, as always,
still applies: use whatever mic that
sounds best. n
BRUCE BARTLETT is a micro-
phone engineer (www.bartlettmics.com),
recording and live sound engineer, and
audio journalist. His latest book is Prac-
tical Recording Techniques 6th Edition.
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AS A LONG-TIME AUDIO ENGINEER based in Southern California, Paul
Beach has earned a reputation for doing things outside the norm, lending his system
design and mixing talents to performances on a number of levels, including large-
scale outdoor events.
It seems that I have a knack for working my way into situations that require
going beyond what many traditionally expect of technology, he says. I may use
gear in an unorthodox fashion at times, but the net result always clears a path to the
desired endpoint.
An example of his methodology is an audio rig hes congured for use with
regional reworks shows that brings choreographed soundtracks to a number of
outdoor zones as well as a main viewing area. Ranging in size from 500 to 10,000,
crowds gathered for these events sprawl like a serpent over landscapes teeming with
buildings, trees, and countless other obstacles standing in the way of providing even
or just about any coverage.
The delayed loudspeaker runs to satellite viewing areas at these shows are just
about impossible for cable, mainly because of the labyrinth of routing required to get
through all the twists, turns, and other impediments found in the environment, he
explains. Seeking a solution, he decided
to chart an signal delivery path to sec-
ondary viewing areas directly as the
crow ies by going wireless.
DEVELOPING THE IDEA
The wireless delivery design was rst
enabled a number of years back with
the assistance of long-time friends
and collaborators Jon Bart of Quiet
Voice Audio from nearby Fallbrook,
CA, and Mike Cromer of Huntington
Beach, CA-based Audio Geer. The
two had been encouraging Beach to
develop the idea for some time prior
to his actual decision to make it real-
ity, and they helped in fullling gear list
requirements.
He began pursuing his vision for
the system about ve years ago. It was
to be straightforward and bulletproof,
requiring little more in the way of
hardware than a music source, com-
pact mixing capabilities, loudspeakers,
and some sort of wireless transmis-
sion/retrieval scheme. He started with
a Shure PSM700 UHF frequency-
agile, 2-channel system as the heart
of the wireless aspect. While designed
for personal monitoring applications
using beltpacks and earbuds, in Beachs
mind there was no reason the PSM700
couldnt be tweaked to serve in a much
broader capacity as the foundation of a
larger-scale wireless sound reinforce-
ment component.
On the loudspeaker end of the
equation he brought in a pair of 2-way
Mackie SRM450s and placed them on
Ultimate Support stands to serve his
intended area of delayed coverage. A
16-channel Mackie 1604-VLX Pro
Series mixer managed mixing chores,
while wireless operation was made
completely weatherproof by mounting
the PSM700 system receiver inside of
a Pelican dry box (acquired from the
local Frys Electronics store), outtted
with a rubber lining and rubber seal.
Creative thinking results in a wireless solution. by Gregory A. DeTogne
Beyond The Cable
>>>>
FRONTLINES
Paul Beach with one of the
loudspeakers he utilizes in
his distributed wireless rig.
L1210 pp34-37 Front Lines.indd 34 9/25/12 2:58 PM
30 years
of fun,
obstinacy
and neutral
sound:
d&b is d&b.
They say that d&b have built a selection of remarkable sound
reinforcement systems in the course of time. All of them efficient
tools for sound engineers, not forgetting the rental companies as
well as the artists. Whatever: d&b as usual.
W
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LS1210 ppxx d&b.indd 1 9/11/12 2:17 PM
:: Front Lines::
The box was simply attached
to the side of one of the self-
powered loudspeakers.
Ut i l i zi ng Shure paddl e
antennas at both the receiver
and transmitter ends of the
PSM700 system, his goal was
to send quality sound over
1,000 feet filled with other
potentially interfering RF sig-
nals and the aforementioned
trees and buildings. While tra-
ditional cable runs for the loud-
speakers would have exceeded
as much as 1,200 feet, Beach
lucked-out in his initial use
of the new system in terms of
AC sources for the loudspeak-
ers, which were located a mere
15 feet away from each cabinet
next to some planters in the
landscape.
ASSEMBLY REQUIRED
Once Beach powered-up for the
debut of the rig, the PSM700
receiver took readily to its new
home inside the Pelican box.
Two ush-mounted XLR con-
nectors were added to the box. The
receivers antenna connector was also
made easily accessible, and connected
to a 25-foot long cable leading to a
paddle antenna mounted atop an eight-
foot tall boom stand.
The PSM700 receivers output left
the Pelican box traveling in stereo on
standard XLR mic cables to the loud-
speakers. Later, Beach switched to
mono mode to basically double the
power and obtain a more stable signal.
(Stereo isnt a primary concern with
this application anyway. And, all con-
nections are balanced.)
From the receiver which was held
in place with velcro inside the Pelican
box a 1/8-inch TRS cable terminated
with soldered connections at the ush-
mounted XLR connectors. Beach built
a cable with a Lemo connector on one
end and a BNC connector on the other
to run between the receiver and a ush-
mount BNC connector mounted in the
Pelican box chassis. A standard Shure
antenna cable ran from the Pelican box
out to the paddle antenna.
When I first tested the system
with Mike (Cromer), we just had a
shorty antenna on the receiver like
youd use onstage, Beach notes.
On the transmitter we had an
1/8th wave antenna. The system
worked with those, so we gured
performance would only get bet-
ter with paddles at both ends,
and it did boosting our range
to distances unbelievably beyond
factory specs. The first time I
used the system for a show, I set
the receivers volume at about 75
percent.
CONTROL CENTRAL
Fast-forward to today, and we
find that Beachs wireless out-
door system has morphed and
changed with the times, evolv-
ing to keep pace with the chang-
ing needs of the shows. While
in its earlier incarnations the
system called upon a Denon
DVD-2910 DVD player as the
medium of choice for playing the
soundtrack, delivering SMPTE
for lighting effects, or a time
code called FSK favored by pyro-
technicians, 2012 finds the rig
subscribing to a design philoso-
phy emphasizing as few moving parts as
possible. Central to the control scheme
these days in an iPad, which stores all
elements of the soundtrack.
All of my music les were rendered
and edited in Sony Vegas Pro, he adds,
then I created a playlist in iTunes
for export to my iPad. Using one of
two apps I downloaded, the les are
assigned to touchscreen buttons pro-
viding me with the ability to load my
show quickly, and change it just as fast
on the y if I have to. Its a exible,
fast, and stable designeverything you
want in other words.
To better facilitate the use of the
iPad which is configured for left
channel audio and right channel time
code for the pyro Beach chose an
Alesis IO dock that provides pro audio
The wireless receiver mounted inside of
the dry box.
The dry box attached to the side of the loudspeaker,
ready to go.
quality output as well as charging
capabilities for the little tablet com-
puter. The apps in use on the iPad
are LiveTrax and SoundCue. While
both offer random access features and
assignable icon-based control, Live-
Trax also provides Beach with a linear
approach to le management, within
which he can view track lists as they
play in sequential order.
Beyond the tracks, the system today
has moved to a small-format Allen
& Heath mixer, and added Shure
PSM900 systems to its available inven-
tory of IEM transmitters and receiv-
ers. Ive discovered that the 900 is a
stronger component in terms of giv-
ing me higher audio delity and really
decent range that exceeded any prac-
tical expectations I had, he reports.
I can reach my receiver at distances
of over 1,500 feet with obstructions
all along my path and still maintain a
good, strong signal.
Never one to rest upon his laurels,
Beach is looking for ways that the
unconventional system can be taken to
yet another level. Im looking forward
to the day when I can actually send a
digitally-encoded multi-channel audio
signal out from the Alesis or some other
type of iPad audio interface, he says.
That way I can either get 5.1, or in more
practical terms, just the ability to run
stereo out to my main arrays at FOH
and stereo out for channels three and
four, which are traditionally reserved for
rear surround and my delay
This type of creative thinking is a
staple of his world. Onstage as a musi-
cian, the Southern Californian has
played bass with the Mamas & the
Papas, as well as a host of other 1960s
pop rock icons such as Gary Puckett
and the Union Gap, The Association,
and Spanky and Our Gang. And off-
stage, its pretty obvious that hes been
endowed with similarly creative, albeit
more technical, capabilities. n
GREGORY A. DETOGNE is a writer
and editor who has served the pro audio
industry for the past 30 years.
The iPad in the Alesis IO dock thats
congured for audio as well as time code
for pyro.
Professional Loudspeakers
Celestion compression
drivers deliver the high
frequencies in many of
the worlds leading sound
reinforcement systems.
Find out what
Celestion compression
drivers can do
for you at
www.celestion.com
Precision Engineered by Celestion
www.celestion.com
Find us on
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REALW RLDGEAR
To Boldly Go
Theres plenty of power in modern ampliers.
by Live Sound Staff
IN THE ORIGINAL SCI-FI TV SERIES Star Trek,
Captain James T. Kirk of the Starship Enterprise frequently
implored his chief engineer, Mr. Scott (a.k.a. Scotty), We
need more power! And Scotty always did his best to comply
with the captains request, regardless of the complications of
the situation.
Sound reinforcement system designers and engineers have
made similar demands of power amplier manufacturers, and
like Mr. Scott, theyve come through, and in spectacular fash-
ion. The modern power amplier is light years removed (par-
don the pun!) from the huge, heavy and inefcient designs
of the recent past. Current designs are also far lighter, and in
some cases, come in a compact package that more resembles
a rack-mount processor than a device capable of generating
several thousand watts of audio power.
Consider that a decade or so ago, the agship model of
one of the leading amplier makers delivered 2,000 watts per
channel into 4 ohms, from a package weighing 77 pounds
while occupying four full rack spaces. Presently, that same
companys current agship model provides 4,500 watts per
channel into 4 ohms from a package that weighs just 28
pounds and takes up only two rack spaces.
The primary advancement has been to make the brutes
more efcient. Greater output efciency means less heat, and
therefore, less weight, as well as more AC power, making it to
the loudspeakers. Note that not every newer amplier cranks
out thousands of watts, but lower output models have also
benetted from these design advances.
The most common amplier topology now is Class D
(and variations), which uses an on-off switching method for
its transistors called Pulse Width Modulation. Because its
output devices are either on or off, the efciency of the ampli-
er is greatly increased, and this is done without jeopardizing
the integrity of the audio waveform by switching positive
and negative output transistors on and off many times per
waveform cycle.
This method is analog, but similar in theory to digital
sampling where a 44.1 kHz sampling rate is used to accu-
rately capture a 20 kHz signal. This rapid switching creates
a square wave that is then low-pass ltered to recreate the
audio waveform.
Class G amplier designs take a post-AB Class signal and
switch it between two power supplies one for softer output
levels and other for louder. Efciency improves as the power
amplier draws full power from the AC source when higher
a level of amplication is needed.
Class H also works on the two-power supply output, but
instead of simply switching between lower and higher volt-
age power supplies, the second power supplys voltage level is
controlled via the audio input signal. If the signal increases,
so does the power supplys voltage.
Class I, developed and patented by Crown Audio, is an
advancement of the Class D switch-mode design. It helps
eliminate a drawback of Class D the potential for distor-
tion in the moment that one transistor turns off and another
turns on.
The addition of DSP into the package is a further
enhancement, offering convenience, space and cost savings,
operating efciencies, performance advantages and more.
Many modern ampliers also benet from networked control
protocols, making them easier than ever to congure and
monitor during a show.
Theres a lot to like when it comes to power ampliers,
and a variety of options abound. Enjoy this Real World Gear
look at premium models and series for sound reinforcement
applications.
>>>>
L1210 pp38-42 RWG.indd 38 9/25/12 5:03 PM
NEXO NXAMP Series
www.yamahaca.com
The Tulalip Resort Casino,
located in Tulalip, WA near the
Central Puget Sound, is owned
and operated by the Tulalip
Indian Tribe. Clarity Media
Group (CMG) of Lake Oswego,
OR was hired as the design/
build contractor to upgrade the existing audio/video system in the casinos 480-seat
Canoes Cabaret entertainment lounge, working closely with house audio engineer
Erik Otto. My goal was to create a one-of-a-kind experience for guests that they
would not nd anywhere else, states Otto. CMG chose a NEXO GEO S12 line
array, NXAMP 4x4s, and Yamaha M7CL-48ES as part of the clubs main PA.
The NXAMP 4x4 is one of the industrys most powerful ampliers, yet is very
cost effective, says Travis Cibolski, co-owner and system designer for CMG. It
is a DSP and ampli-
er all in one, elimi-
nating the need for
unnecessary A/D
conversion.
TECHNOLOGY FOCUS
NXAmps use legendary Yamaha EEEngine technology, and offer the sonic purity of conventional class AB
but with a heat dissipation equaling class D technology. NXAmp power supplies are full resonance-type
with half bridge converters. The unique design minimizes noise via ZCS (Zero Crossing Switch) technology.
NXAmp 4x4 employs four times the structure of a mono amp for a very high power, low impedance load.
KEY SPECIFICATIONS
Number of Models: 2
Top model: NXAMP 4x4
Class: Yamaha EEEngine
Channels: 4
Output Power (per channel): 3300 watts @ 4 ohms;
1900 watts @ 8 ohms
Bridge Mono Mode: Congured 2x2 in bridge mode
Damping Factor: >800
Outputs: 4 x Speakon
DSP: Two DSPs, 24-bit data with 48-bit accumulator.
700MIPS
Size: 4U
Weight: 49 pounds
:: Real W rld Gear: Spotlight Listings::
Crown Audio I-Tech HD Series | www.crownaudio.com
Yamaha TXn Series | www.yamahaca.com
QSC Audio PowerLight 3 Series | www.qscaudio.com
Lab.gruppen PLM Series | www.labgruppen.com
Number of Models: 3
Top model: PL380
Class: D
Channels: 2
Output Power (per channel):
2500 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode:
4000 watts @ 4 ohms
Outputs: Speakon (ch 1 wired to
both channels), binding post
DSP: Optional plug-in card
Size: 2U
Weight: 24 pounds
Number of Models: 3
Top model: PLM20000Q
Class: TD
Channels: 4
4400watts @ 4 ohms
2300 watts @ 8 ohms
Bridge Mono Mode:
9600 watts @ 4 ohms
Damping Factor: NA
Outputs: Speakon or binding
posts (user specify)
DSP: Lake processing onboard
Size: 2U
Weight: 37 pounds
Number of Models: 3
Top model: I-T12000 HD
Class: I
Channels: 2
4500 watts @ 4 ohms
2100 watts @ 8 ohms
Bridge Mono Mode:
7500 watts @ 4 ohms
Outputs: 4-Pole Speakon,
binding post
DSP: BSS OmnidriveHD with IIR
and FIR lters
Size: 2U
Weight: 28 pounds
Number of Models: 3
Top model: TX6n
Class: D
Channels: 2
3000 watts @ 4 ohms
1800 watts @ 8 ohms
Bridge Mono Mode:
5500 watts @ 4 ohms
Outputs: Speakon NL4
DSP: Onboard 24-bit/96-kHz
engine
Size: 2U
Weight: 35.3 pounds
L1210 pp38-42 RWG.indd 39 9/26/12 1:49 PM
Powersoft K Series
www.powersoft-audio.com
Powersoft K2 and K3 amplifiers
powered the large-scale main stage
system at this years EdgeFest festi-
val, held at the 30,000-capacity FC
Dallas Stadium in Frisco, TX. Dal-
las-based Gemini Light Sound &
Video supplied production for the
event, which featured The Black
Keys, Cake, Cage the Elephant,
Arctic Monkeys, Neon Trees, and many others.
Gemini has switched to Powersoft over the past two years, according to sys-
tem tech Chad Cain (pictured above with Gemini owner Tim Cain). He notes
that the K2 and K3 ampliers offer a number of advantages over the companys
previous amps. One reason we went to Powersoft amps was the light weight and
the size of them, he says. We can get a lot more power out of a lot more usable
space, so our racks are smaller and lighter.
We went from using an amplier that weighs 80 pounds, with four of them
running eight boxes, he continues, to six Powersoft amps, weighing 26 pounds
each, running 12 boxes. That has signicantly cut down the weight of the racks.
The K2 and K3 ampliers, at just 1RU in height, also take up less rack space
than the previous models.
SOUND COMPANIES
HAS Productions Las Vegas
Special Event Services Winston-Salem, NC
Dowlen Sound, Arvada, CO
ATK Audiotek Valencia, CA
Maryland Sound International, Baltimore, MD
Pro Production Services Phoenix, AZ
Speeda Sound Fresno, CA
Clair Global Lititz, PA
KEY SPECIFICATIONS
Number of Models: 6
Top model: K20
Class: D
Channels: 2
Output Power (per channel): 5200 watts @ 4 ohms;
2700 watts @ 8 ohms
Bridge Mono Mode: 18000 watts @ 4 ohms
Outputs: Speakon NL4MD
DSP: Optional KDSP board
Size: 1U
Weight: 26.5 pounds
:: Real W rld Gear: Spotlight Listings::
Ashly Audio NE Series | www.ashly.com
Alcons Audio ALC Series | www.alconsaudio.com
Carvin DCML Series | www.carvin.com
Electro-Voice Tour Grade Series | www.electrovoice.com
Number of Models: 6
Top model: DCM3800L
Class: AB
Channels: 2
1150 watts @ 4 ohms
700 watts @ 8 ohms
Bridge Mono Mode:
3800 watts @ 4 ohms
Outputs: Speakon-1/4-in combo,
binding posts
DSP: No
Size: 2U
Weight: 14 pounds
Number of Models: 2
Top model: TG7
Class: H
Channels: 2
2500 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode:
700 watts @ 4 ohms
Outputs: 4-pole twist lock
DSP: Optional modules
Size: 2U
Weight: 32 pounds
Number of Models: 3
(constant voltage
models also
available)
Top model: NE2400
Class: D
Channels: 2
1200 watts @ 4 ohms
700 watts @ 8 ohms
Bridge Mono Mode: 2400 watts
@ 8 ohms (no 4 ohm rating)
Outputs: Speakon, Euroblock
DSP: Protea DSP optional
Size: 2U
Weight: 21 pounds
Number of Models: 4
Top model: ALC Sentinel12
Class: D
Channels: 4
2500 watts @ 4 ohms
Damping Factor: N/A
Outputs: Speakon NL4
DSP: Onboard 400 MHz Analog
Devices SHARC
Size: 2U
Weight: 25.4 pounds
Note: This data is preliminary for
this new product. More infor-
mation will be available soon.
L1210 pp38-42 RWG.indd 40 9/26/12 12:26 PM
Mackie FRS Series | www.mackie.com
MC2 Audio E Series | www.mc2-audio.co.uk
dBTechnologies HPA Series | www.dbtechnologies.com
Alto Pro APX Series | www.altoproaudio.com
D.A.S. Audio SLA Series | www.dasaudio.com
Crest Audio Pro-LITE Series | www.crestaudio.com
Outline T Series | www.outlinearray.com
Peavey IPR Series | www.peavey.com
Number of Models: 3
Top model: SLA-4000
Class: H
Channels: 2
1400 watts @ 4 ohms
850 watts @ 8 ohms
Bridge Mono Mode:
4000 watts @ 4 ohms (2 ch)
Outputs: Speakon, binding post
DSP: No
Size: 2U
Weight: 24.2 pounds
Number of Models: 2
Top model: Pro-LITE 3.0
Class: D
Channels: 2
870 watts @ 4 ohms
450 watts @ 8 ohms
Bridge Mono Mode:
3150 watts @ 4 ohms
Damping Factor: >255:1
Outputs: Speakon
DSP: Both models available in
DSP versions
Size: 2U
Weight: 13.3 pounds
Number of Models: 4
Top model: T Eleven
Class: D
Channels: 2
4000 watts @ 4 ohms
2000 watts @ 8 ohms
Bridge Mono Mode:
12000 watts @ 4 ohms
Outputs: Speakon NL4MP
DSP: Optional
Size: 1U
Weight: 26.5 pounds
Number of Models: 4
Top model: IPR DSP 7500
Class: D
Channels: 2
2020 watts @ 4 ohms
1250 watts @ 8 ohms
Bridge Mono Mode:
2400 watts @ 4 ohms
Outputs: 4-pole twist lock;
1/4-inch signal patch
DSP: Comprehensive onboard
(non-DSP versions also
available)
Size: 2U
Weight: 6.2 pounds
Number of Models: 2
Top model: FRS-2800
Class: H (model FRS-
1700 is AB)
Channels: 2
850 watts @ 4 ohms
500 watts @ 8 ohms
Bridge Mono Mode:
2800 watts @ 4 ohms
Outputs: Combo XLR/TRS input
and TRS thru
DSP: No
Size: 2U
Weight: 22 pounds
Number of Models: 6
Top model: E100
Class: D
Channels: 4
2800 watts @ 4 ohms
1400 watts @ 8 ohms
Bridge Mono Mode:
7400 watts @ 4 ohms (2 ch)
Outputs: 4-pole Speakon
DSP: No
Size: 2U
Weight: 26 pounds
Number of Models: 4
Top model: HPA 3100L
Class: HD
Channels: 2
1200 watts @ 4 ohms
800 watts @ 8 ohms
Bridge Mono Mode:
3400 watts @ 4 ohms
Outputs: Speakon
DSP: No
Size: 2U
Weight: 30.8 pounds
Number of Models: 2
Top model: APX1500
Class: D
Channels: 2
750 watts @ 4 ohms
370 watts @ 8 ohms
Bridge Mono Mode:
1500 watts @ 8 ohms
Damping Factor: N/A
Outputs: Speakon NL4,
binding posts
DSP: No
Size: 2U
Weight: 12.8 pounds
L1210 pp38-42 RWG.indd 41 9/25/12 5:04 PM
:: Real W rld Gear::
CAMCO Vortex Silver Series | www.camcoaudio.com
Behriner iNUKE Series | www.behringer.com
Face Audio Titanium Extra Series | www.faceaudio.com
Bose PowerMatch | www.pro.bose.com
Number of Models: 2
Top model: F2000TX
Class: H
Channels: 2
2000 watts @ 4 ohms
1300 watts @ 8 ohms
Bridge Mono Mode:
4600 watts @ 4 ohms
Outputs: Speakon NL4MP
DSP: No
Size: 2U
Weight: 59 pounds
Number of Models: 1
Top model: PowerMatch
PM8500
Class: D
Channels: 8 (Outputs can be
congured as single, dual, or
quad channel modes)
500 watts @ 4 ohms
300 watts @ 8 ohms
Bridge Mono Mode:
2000 watts @ 4 ohms
Outputs: 8-pin Phoenix
DSP: Onboard
Size: 2U
Weight: 28 pounds
Number of Models: 1
Top model: Vortex 8
Class: Hybrid H
Channels: 2
3800 watts @ 4 ohms
2200 watts @ 8 ohms
Bridge Mono Mode:
8000 watts @ 4 ohms
Outputs: 4-pole Speakon
(bi-amping possible)
DSP: Optional plug-in card
Size: 2U
Weight: 28.7 pounds
Number of Models: 3
Top model: NU6000DSP
Class: D
Channels: 2
3000 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode: N/A
Damping Factor: N/A
Outputs: Twist-lock
DSP: Onboard, 24-bit/96 kHz
(models w/o DSP available)
Size: 2U
Weight: 12 pounds
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L1210 pp38-42 RWG.indd 42 9/25/12 5:04 PM
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LS1209 ppxx Soundcraft.indd 1 8/24/12 12:54 PM
MORE THAN 700 PRODUCTION PERSONNEL and live sound operators
converged on Atlantas World Congress Center in September to check out the
second annual Live Sound Compact Systems Demo, held in conjunction with
the WFX Conference & Expo.
The demo, which topped last years total attendance gure, provides the rare
opportunity to directly listen to, evaluate, and compare more than a dozen com-
pact loudspeaker systems in a controlled listening environment. In addition, all
participating companies had representatives on hand to provide technical details
and pricing information.
The event was established in a full-size exhibit hall of the convention center,
with a 150-foot by 150-foot demo space draped off to dene the area and to help
eliminate reections. Carpet that covered the entire demo area furthered this goal.
Most of the participating manufacturers chose to highlight own compact
line arrays, including an early showing of the recently introduced Martin Audio
MLA Compact. Renkus-Heinz highlighted IC2 (IC Squared) digitally steered
system, while Danley Sound Labs took an entirely different path, utilizing just a
>>>>
SHOWREPORT
Raising the roof in Atlanta. by Live Sound Staff
Full Metal Demo
v WorxAudio X-Series XL5i-P
v Renkus-Heinz IC2 (IC Squared) IC2-FR
v QSC Audio WideLine-8 WL3082
v Outline MiniCOM.P.A.S.S iMode
v Martin Audio MLA Compact
v L-Acoustics KARA
v ISP Technologies HDL2208
v Electro-Voice EVA-2082S
v D.A.S. Audio AERO-8A
v Danley Sound Labs SM80
v Bose Professional RoomMatch
(variety of models)
v Alcons Audio LR7
v Adamson Metrix Series
DEMO SYSTEMS
L1210 pp44-48 Show Report.indd 44 9/25/12 3:07 PM
LS1208 DAS Web ad.indd 1 8/1/12 4:26 PM
:: Show Report ::
single SM80 coaxial loudspeaker on a
tripod stand to make its presentation.
THE FORMAT
Live Sound Senior Contributing
Editor Craig Leerman served as the
emcee for each one-hour full demo
session, where all systems were played
in a round-robin, random format,
supplied with identical audio tracks.
Listeners were able to move from sys-
tem to system, evaluating what they
were hearing and also observing each
systems scale, components and other
important details. Each participating
company also presented 20-minute
exclusive demo sessions on both days,
further showcasing their technologies.
The audio tracks were provided to
each system via a digital signal chain.
A PC loaded with .wav files of all
tracks fed a Focusrite Scarlett 8i6, an
8-input/6-output audio interface, with
the SPDIF signal going to a Yamaha
LS9 digital console, which was also
used as the systems master word clock.
From there, signal went out via an
Audinate Dante network on Cat-5e to
Link DGLink stage boxes, and from
there, each system received an analog
feed. This system backbone was capa-
bly managed by veteran sound pro-
fessional (and LSI contributor) Tim
Weaver of College Station, TX.
Following the initial system setup
and optimization process prior to the
demo, Leerman veried that system
each was no louder than 98 dB (pink
noise, C-weighted slow), measured at
an on-axis distance of 55 feet. Those
levels were then locked into place to
insure uniformity. Leerman also mas-
tered all of the program audio tracks
ahead of the event to insure they were
at the exact same level.
VALUABLE OPPORTUNITY
Prior to each demo session, all attend-
ees were supplied with a booklet con-
taining the key specications of each
system, including pricing information.
Further, two large-scale video screens
posted on the demo oor provided key
system information. Meanwhile, light-
ing to spotlight each system as it was
played was supplied by Mega Systems
of San Antonio, TX, with Guillermo
Cabada at the lighting board.
And, fol l owi ng each sessi on,
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LS1007 ppxx Radial.indd 1 6/28/10 3:21:40 PM
:: Show Report ::
prize drawings were held, with lucky
attendees walking away with audio
products from Audio-Technica, Shure,
beyerdynamic, Earthworks, and Link.
By the way, Leerman also utilized a
Shure ULX-D wireless system for his
emcee duties.
WFX Atlanta 2012 continued the
events strong emphasis on education.
More than 50 conference sessions were
presented across six tracks (Audio/
Video/Lighting, Design, Facilities
Management, Leadership & Manage-
ment, Social Media & Communica-
tion, IFRAA), along with a sold-out
lineup of more than 50 Hands-On
Training sessions, including advanced-
level courses.
Plans are already underway for next
years compact system demo with
even more features for attendees to
be held in conjunction with WFX
Expo 2013 in Dallas. More on that as
soon as details are available.
And note that this event is not
limited to church sound and produc-
tion personnel. Anyone interested in
checking out a large selection of top
line arrays and loudspeakers in a con-
trolled live demo, all at one location,
is welcome to attend. n
At left, emcee Craig Leerman running a demo session, while at right, an attendee
gathers information.
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LS1210 ppxx Renkus.indd 1 9/26/12 1:54 PM
FIRSTLOOK
>>>>
Compact Fidelity
Mackies new DLM Series loudspeakers.
by Keith Clark
IN LATE AUGUST, I was invited by Mackie to journey to Seattle for the unveil-
ing of the DLM Series, a new line of very compact, self-powered loudspeak-
ers. The series includes two full-range models (DLM8, DLM12), along with a
high-output compact subwoofer (DLM12S), that are well-suited for handling
club gigs and other portable live applications, delivering a lot of output from a
miniscule footprint.
In other words, it can get really loud for such a small box while retaining full-
range delity. During the launch event, this was borne out during a skillful live
acoustic performance by Glen Phillips, probably best known from his work as
singer/songwriter for Toad the Wet Sprocket.
Two key facets of the design work together to deliver the high output. A Class
D amplifier supplies up to 2,000 watts of acoustic power to a new transducer
design that Mackie calls TruSource Technology, optimized by onboard digital
processing.
TruSource incorporates either a 12- or 8-inch woofer with a 1.75-inch com-
pression driver in a coaxial conguration. Some of this approach is inspired by
transducer research and development done by sister company EAW, but its also a
unique take, using a newly developed single compact common-magnet design that
can attain the desired output while reducing the size and weight of the package.
The DLM8 (8-inch) measures 12.3 x 12.1 x 11.9 inches and weighs 22 pounds,
and is specied with a frequency response of 65 Hz to 20 kHz (-10 dB) and peak
output of 125 dB (at 1 m). The DLM12 (12-inch) spans 15.9 x 15.3 x 14.3 inches,
weighs 31 pounds, and has LF response down to 38 Hz. Peak output is listed at
128 dB.
Also onboard is an integrated digital mixer to assist in tailoring to an array of
applications. The mixer is outtted with a bright OLED screen and presents simple
one-touch operation. It offers an independent channel level, 3-band EQ and
16 effects, including reverb, chorus and delay, along with a multi-band feedback
The new Mackie DLM Series.
The integrated
kickstand for
monitoring
applications.
The DSP and I/O facilities on the back
of each cabinet.
L1210 pp50-51 First Look.indd 50 9/26/12 12:27 PM
destroyer. Six modes can be used for
tailoring the voicing of the system.
In addition, the DSP package
includes alignment delay of up to 300
ms for distributed applications where
one or more DLM boxes might extend
the range of a main system. Further,
three memory locations foster instant
venue setting recall. The digital cross-
over can be used with both DLM as
well as Mackie SRM Series loudspeak-
ers, with variable crossover control also
providing optimization with any loud-
speaker. Smart Protect protects both
the amplier and driver.
It s amazing that DLM speak-
ers are a third smaller than anything
in their class, but its the unmatched
power, processing and fidelity that
really sets DLM apart from every-
thing else, states Mackie senior VP
John Boudreau.
The DLM12S subwoofer also
sports a Class D amplifier driving a
single 12-inch, heat-treated woofer
with a 3-inch voice coil in extending
response down to 35 Hz. It includes six
XLR connects for exible I/O control,
including two line level inputs, two
full-range outputs (for side lls, etc.)
and two high-pass outputs for direct
connection to DLM mains.
Cabinets are made of PC-ABS with
powder-coated grille, and both full-
range boxes offer integrated kickstand
to provide extra up-tilt for stage moni-
toring. Also included is an integrated
pole-cup plus additional conguration
options that include wall mounting and
ying for installs.
The launch event proved to be
time well spent, and in particular, the
opportunity to hear a great artist like
Phillips perform with brand-new tech-
nology stands out. Its also interesting
to see where the market is heading in
terms of the size/performance aspect of
loudspeakers. One other note: Mackie
produced a hilarious video to accom-
pany the intro of the system. Be sure
to check it out on PSW by going to
www.prosoundweb.com and entering
Mackie in the search box.
DLM Series models will be avail-
able in the fourth quarter of 2012. The
price for the DLM8 is $879.99, and
for the DLM12, its $1,059.99. The
DLM12S is $1,249.99. (All prices U.S.
MSRP.) n
KEITH CLARK is editor in chief
of Live Sound International and
ProSoundWeb.
John Boudreau of
Mackie introducing DLM.
Glen Phillips performing
at the launch event.
L1210 pp50-51 First Look.indd 51 9/25/12 3:11 PM
SHOWCASE
>>>>
Complete Coverage
Implementing a new system at
Spartan Stadium. by Live Sound Staff
NEARLY 80, 000 STUDENTS,
alumni and fans pack Spartan Stadium
on the campus of Michigan State Uni-
versity for every home football game
each fall. MSU has regularly expanded
the facility since it was rst constructed
with just 14,000 seats in 1923, and just
in time for kickoff this year, Spartan
Stadium underwent a multi-million
dollar audio/video systems upgrade.
The project includes the Big Tens
largest video board (occupying 5,412
square feet) behind the south end zone
seating, two auxiliary video boards
beyond the north end zone, and a new
sound reinforcement system headed
by Danley Sound Labs loudspeakers
and subwoofers. Apart from lls, just
six Danley Jericho J3s provide all of
the new systems full-range coverage
to the entire venue, delivering point-
source delity and tremendous return
on investment.
Led by director of audio engineer-
ing Larry Lucas of Anthony James
Partners, Richmond, VA, conceived
and designed the new system, while
Pro Media/UltraSound of Hercu-
les, CA, handled the installation and
support services under the guidance of
senior designer and engineer Deme-
trius Palavos. He managed the project
from a germ of an idea to commission-
ing and beyond.
There is denitely a shift occur-
ring at the collegiate level that follows
the shift that has been underway at the
professional level for some time, notes
Palavos. Everyone is recognizing that
fans are routinely exposed to high-end
home entertainment systems and car
stereos. Even headphones and iPods
offer a full-frequency experience. Such
experiences have raised expectations for
game day. School ofcials are now rec-
ognizing the need to meet those expec-
tations at the collegiate level.
At the same time, however, budgets
remain tight given the stark economic
realities of shrinking endowments,
state-mandated austerity measures,
and charitable gifts that are, well, less
charitable than they might have been a
few years ago.
Danley systems have a lot to rec-
ommend them, says Lucas, but their
most obvious advantage is an unprec-
edented return on investment for the
client. The delity and coverage would
be excellent at any price, but the actual
price tag is tremendously low relative
to that kind of performance. We were
lucky at MSU because the Jericho J3
had just become available during the
designing stages.
Danley Sound Labs established
L1210 pp52-56 Showcase.indd 52 9/26/12 9:31 AM
Jericho as a point-source alternative
to line arrays. The J3, with a disper-
sion pattern of 60 x 40 degrees, incor-
porates six 15-inch woofers, eight
6.5-inch cone drivers and four coaxial
compression drivers all feeding a
large-scale horn within an enclosure
measuring 30 x 35.6 x 48 inches.
Its capable of providing appropriate
SPL by distance while sidestepping
destructive interference problems that
can plague high-output designs.
CONTROLLING ENERGY
Whereas Spartan Stadiums previous
sound reinforcement system resided in
the south end zone, Lucas designed the
new system to re from the north end.
Previously, additional energy spilled out
of the north side and into the commu-
nity of East Lansing, explains Lucas.
One of the loudspeaker
sets going into place,
including one of the SH
46 ll loudspeakers, TH
812 subwoofers, and J3
Jericho Horns.
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:: Showcase::
By placing all of the loudspeaker ele-
ments at the north side, we could be sure
that any excess energy would spill out
onto the campus instead.
The design uses the two smaller
scoreboards on the north side as rigging
points for the Jericho J3s that are joined
by Danley TH 812 Tapped Horn sub-
woofers to enhance the low end. The
scoreboards are approximately 200 feet
apart, and the coverage from each effec-
tively splits the stadium in two.
Firing 500 to 600 feet to the south
end zone seating was the most compli-
cated and difcult throw, says Palavos.
Its a balancing act to get that right
and to still get even coverage and SPL
at mid-eld, beneath the clusters and
the upper deck.
The loudspeaker set afxed to the
northeast scoreboard is a mirror image
of that afxed to the northwest score-
board. On each, a pair of stacked Jeri-
cho J3s handle the far throw, whereas
a single J3 handles the intermediate
throw for the near- and medium-side-
line stands.
Three vertically-stacked TH 812
subwoofers per side collapse the low-
frequency beam to provide throw. The
TH 812, nicknamed the Rock Mon-
ster, incorporates eight 12-inch long-
excursion woofers, also horn-loaded. It
provides signicant forward directivity
due to its physical size and the bound-
ary that it creates. This forward direc-
tivity also helps minimize the energy
spilling behind the arrays.
Ten smaller Danley SH 46 loud-
speakers supply fill for areas on the
north side of the stadium that are in
the shadows of the larger boxes, such
A view of the two north end zone scoreboards that serve as the host of the split loud-
speaker sets.
Firing 500 to 600 feet
to the south end zone
seating was the most
complicated and
difcult throw.
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L1210 pp52-56 Showcase.indd 54 9/26/12 12:27 PM
WIRELESS
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LS1210 ppxx AudioTechnica.indd 1 9/12/12 11:44 AM
:: Showcase::
as very near the scoreboards and under
the near balconies.
GETTING IT THERE
The systems digitally networked front
end is straightforward. A Yamaha LS9
digital console provides user control of
input source selection and volume. Its
output feeds a pair of Peavey Media-
Matrix NION processors with Audi-
nate Dante networking cards, which
in turn feed HP ProCurve network
switches over ber.
At each scoreboard, Lab.gruppen FP
7000 and FP 9000 Series power ampli-
ers drive the TH 812 subs (with cross-
overs provided by MediaMatrix NION)
and the SH 46 ll loudspeakers. How-
ever, signal is also routed to a Danley
DSLP 48 digital processor before travel-
ing to the J3 Jericho Horns.
In the processor, Danley has opti-
mized the crossovers and processing
necessary to get the very best perfor-
mance from the J3, Palavos explains.
You cant reall y recreate that in
another manufacturers processor.
All rack equipment is housed in
secure, environmentally-controlled
spaces, which include both air-condi-
tioning and heating. Michigan starts
its season humid and hot and ends it
cold and snowy, observes Palavos. An
analog backup over fiber allows the
system to operate even if the digital
backbone and network go down.
NICE SURPRISES
System tuning (performed using
Rational Acoustics Smaart) proved a
bit less challenging that usual because,
as Palavos notes, the specications of
the Danley products match their actual
performance, and in his view, they
sound good out of the box.
In such a complex environment,
having a well-designed and engineered
product is essential, says Palavos.
Danley does a good job of engineer-
ing up front, which means there is less
time required at commissioning to get
the system optimized.
One of the surprises to the MSU
staff after the new system was imple-
mented was that the quality of their
source material needed to be improved.
With the previous system, they couldnt
hear what was lacking.
Preliminary data acquired at the sta-
dium indicates that the system mea-
sures a consistent +/- 3 dB at most of
the nearly 80,000 seats, a testament
both to the components and skilled
implementation by a team of veteran
professionals.
Tom Danley (left) and Demetrius Palavos walking the stadium, evaluating the perfor-
mance of the system.
Copyright 2012. Clear-Com, LLC. All rights reserved. Clear-Com, the Clear-Com logo, and HelixNet are registered trademarks of HM Electronics, Inc.
Take the stage.
The HelixNet Partyline intercom was created to
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the rugged beltpacks provide access to two of
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LS1208 ppxx Kaltman.indd 1 7/19/12 11:55 AM
Hardware Restoration
Proper cleaning of
microphones. by Tim Vear
MICROPHONES ARE SUBJECT
to an inordinate amount of abuse,
especially in live music. Regular clean-
ing not only improves their perfor-
mance, but is also good hygiene. Lets
look at several simple yet effective
techniques for cleaning mics.
DYNAMICS
The best way to clean a microphone is
to remove the grille. Most vocal mic
grilles simply unscrew. If the grille
doesnt slide off easily, gently rock it
back and forth while pulling it away
from the cartridge. Do not pull sharply
or with excessive force, since that could
damage the cartridge or separate it
from the housing.
Once the grille is removed, it can
be thoroughly cleaned without damag-
ing the mic. Since most of the offen-
sive material on the grille comes from
the human body, plain water should
be a sufcient cleanser. Adding a mild
detergent (dishwashing liquid) to the
water will act as a mild disinfectant and
remove odors absorbed by the foam
windscreen.
To remove lipstick and other mate-
rial stuck in the grille, use a toothbrush
with soft bristles. In some models, the
foam windscreen can be removed, but
this is usually not necessary since water
will not damage the grille. (Most grilles
have a nickel nish that makes them
resistant to rust, and replacing the foam
windscreen can also be difficult and
time-consuming.)
The most important thing to
remember is to let the grilles dry
completely before reattaching them!
Although dynamic mics can withstand
small amounts of moisture, a soggy
foam windscreen can compromise per-
formance. Air drying is the best way to
dry the grille, but a hair drier on a low-
heat setting can be used. Care must be
taken not to get too close to the grille
as excessive heat can melt some wind-
screen material.
Cleaning must be done more care-
fully for mics that do not have remov-
able grilles. Using a damp toothbrush,
hold the mic upside down to pre-
vent moisture from leaking into the
cartridge, and very gently scrub the
grille. This technique is also useful
for cleaning the foam that covers the
diaphragm inside of a Shure SM58.
Again, keep the mic upside down, and
be very gentle.
In live situations with multiple
acts, it may be desirable to clean mics
between acts. Use a diluted solution of
mouthwash (Listermint, Scope) with
water and a toothbrush. Again holding
the mics upside down, scrub the grille.
Cautionary note: make certain the
sound system is turned off before the
cleaning begins!
CONDENSERS
Due to the more delicate nature of
condenser designs, never use water
or any other liquid for cleaning pur-
poses. Even a small amount of mois-
ture may damage a condenser element.
For models with removable grilles, the
grille and foam windscreen may be
washed as described above.
Again, the grille and windscreen
must be completely dry before reat-
taching it. To clean a mic with a per-
manently attached grille, use a dry, soft
bristle toothbrush and gently scrub the
grille. Keep the mic upside down so
that loosened particles fall away from
it, and take care not to let stray bristles
get caught in the grille. This technique
also works well for lavalier and minia-
ture gooseneck mics.
For condensers that will be subject
to harsh conditions, such as vocals and
theater applications, it is advisable to
use a removable external foam wind-
screen. This will protect the micro-
phone from saliva and make-up, and
can be removed and cleaned with
soap and water after the performance.
Remember, never get water near a
condenser element.
For both touring and installed
appl i cati ons, i t s hi ghl y recom-
mended to have spare grilles avail-
able for vocal microphones. While
the cleaning methods described here
are useful, they can be somewhat
time-consuming.
In order to minimize setup time,
a fresh grille can be quickly put on a
microphone as needed. At some con-
venient time, the used grille can then
be cleaned if necessary. The same sug-
gestion applies to external foam wind-
screens as well. n
TIM VEAR is an instructor and senior
applications engineer at Shure.
>>>>
GIGSCHOOL
L1210 pp58 Gig School.indd 58 9/25/12 3:13 PM
LS1209 ppxx Alto.indd 1 8/9/12 12:36 PM
>>>>
TO ME, THE TRUE MEASURE
of any wireless system is sound qual-
ity. Features are nice, but can I tell
if what Im hearing is wired or wire-
less? Based upon the use of the Lec-
trosonics Venue wireless microphone
receiver and companion transmitters
on numerous live gigs over the course
of an evaluation process that has lasted
about three weeks, I can condently
state that this is a family of products
that really pushes the limits of wireless
sound quality.
The Venue receiver offers a modu-
lar approach that is designed to pro-
vide a very high audio signal quality
combined with a lot of exibility in
dealing with the congested RF spec-
trum. Venue is comprised of the master
rack mount host chassis that accom-
modates up to six individual receiver
modules, as well as built-in antenna
multicoupler with loop-thru output.
The companys LecNet2 software is
supplied for setup and control.
Operati ng i n the UHF band
(470.1691.1 MHz, 537.6767.9
MHz, and 640861.9 MHz frequency
groups), Venue uses the companys
proprietary Digital Hybrid Wireless
technology for transmission. Briey, a
patented algorithm encodes the 24-bit
digital audio information in the trans-
mitter into an analog format, and then
the encoded signal is then transmitted
over an analog FM wireless link. At
the receiver, the signal is then decoded
to restore the original digital audio. Its
a process designed to eliminate com-
pandor artifacts and produce frequency
response at to 20 kHz.
As previously noted, as many as six
channels of wireless receivers can be
packed into the 1RU chassis. If offers
a centralized menu system and readout
for all six channels, and a headphone
monitoring system is also built in. If
youre using more than six channels,
you can jump the antenna leads out of
one Venue chassis into the next, thereby
eliminating the cost of a separate
antenna distribution system. Phantom
power for remote antenna ampliers is
available from the multicoupler antenna
inputs using internal jumpers.
The receiver frame also provides
bias voltage for active antennas. Since
six channels share the receiver chassis
the cost of owning one or two chan-
nels is fairly high; however the system
becomes quite economical if you plan
on buying in multiples of six. Whats
more, the Venue receiver can oper-
ate in a compatibility mode that
can receive signals from older, analog
transmitters as well as the new digital
hybrid series. This offers a great deal
of value to rental houses that already
own Lectrosonics gear.
FLEXIBLE TRANSMISSION
For my evaluation, the Venue receiver
was supplied with an HH handheld
transmitter as well as an SMQV
beltpack transmitter. The flexibil-
ity concept also extends to both of
these transmi tters. Lectrosoni cs
offers one thread-on capsule for the
HH, the HHC cardioid condenser,
while thread-on capsules using a
1.25-inch/28 thread pitch can also be
used, including those from manufac-
turers such as Electro-Voice, Shure,
Lectrosonics Venue
Assessing a wireless microphone system. by Tim Weaver
The Lectrosonics
Venue wireless
receiver.
Rear view of the Venue receiver, includ-
ing antenna and loop-thru connectivity.
The individual receiver modules can
also be seen on both sides of the unit.
L1210 pp60-63 Road Test.indd 60 9/25/12 3:15 PM
RockNet
Performance Audio Network
Intuitive Set-up:
No Ethernet, no IP.
Easy front panel operation
160 channels
Up to 99 devices in one network
CAT-5 redundant network
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Independent Gain
48kHz or 96kHz sample rate
Remote Control
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LS1210 ppxx Riedel.indd 1 9/13/12 12:07 PM
:: Road Test ::
Blue, Earthworks, Heil Sound and
Telefunken.
The ultra-miniature SMQV belt-
pack (2.3 x 2.4 x 0.64 inches, and
weight of less than 4 ounces) is
equipped with a standard TA5M type
jack for use with electret lavalier and
dynamic mics, or line-level signals.
Proprietary servo bias circuitry on this
input eliminates the need of some mics
to introduce pads to prevent overload
of the input stage, divide the bias volt-
age down for some low voltage mics, or
reduce the limiter range at minimum
gain settings.
The beltpack is minimalist in
design. Seemingly made from a solid
chunk of aluminum, it s then clear
hard-anodized for protection against
oxidation and moisture. Membrane
switches offer control without leaving
a space for water intrusion. The battery
door is closed via a nicely machined
thumbscrew and sealed with a pair of
O-rings. If you enjoy the industrial
design of function dictates form then
you will love this transmitter. It feels
like a precise, yet heavy duty tool.
I used this transmitter and the
included HM172 earset mic on a
child actor in a musical play. In the
eight performances there were zero
RF problems, and it was easy to hide
due to its small size. Battery perfor-
mance was sufcient to get through
two shows before a battery change
using standard alkaline batteries. The
musical was about two hours long, so
four hours total. After that I didnt feel
condent using the same batteries for
another show.
TALKBACK CAPABILITY
The imaginatively named HH trans-
mitter (HH means handheld) is
also loaded with useful technology,
not the least of which is a battery
eject lever. This item alone is worth
its weight in gold when there is 30
seconds to change a battery with large
fumbling hands like mine. A group
of membrane switches under the bat-
tery cover offer power switching and
access to a menu offering a plethora
of options.
One unmarked black button on
the outside of the mic, conveniently
operated with your thumb, can be set
in the menu system to do nothing, be
a mute, or to engage a talkback. In
mute mode, it toggles the output of
the mic off or on but still broadcasts
RF. In talkback mode, its a momen-
tary switch when depressed, the
receiver will route the mics output
to a second channel while also mut-
ing the primary channel. This can be
used by an artist as a talkback mic to
call out the next song or changes in a
monitor mix.
Along with the HHC cardioid con-
denser capsule, I also tested a Shure
Beta 87a and an Earthworks SR40V.
The difference between them was as
clear as if I was changing mics on an
XLR cable. The wireless component
seems to have been removed from
the sound quality discussion. This is
great because you can use some truly
high-end mics and get every last bit
of performance out of them that you
paid for.
The HHC is a condenser element
that behaves very much like an SM58.
Its cardioid pattern works best for sing-
ers that move around a lot. The top end
is well dened but not overly hyped.
I like this capsule, but using it with
louder monitors takes a bit of work.
The Beta 87a sounded exactl y
like an 87a should. Very crispy and
hyped high frequency response is
better suited for talking heads or
quiet stages. The Earthworks SR40V
provided to be the jewel, residing
between the other two when it comes
to top end. I would call it extremely
accurate; however i t never gets
harsh. The rejection is fantastic, with
proximity effect almost nothing.
GENIUS OF SIMPLICITY
Lectrosonics included a pair of SNA-
600 antennas with the package. These
are especially useful if you have a large
inventory of wireless systems because
The HH transmitter, which can accommodate a wide range of capsules, joined by the
SMQV minature beltpack transmitter.
A handy battery eject lever and control
buttons are housed inside the HH
transmitter.
theyre tunable over a range between
550 to 800 MHz, meaning you dont
have to carry a large inventory of dif-
ferent frequency antennas.
To adjust them, you simply loosen
two screws, slide the element out to the
length needed (which is printed right
on the antenna body), and tighten the
screws. A fantastic yet simple idea.
I do have a few caveats to point
out. Both the HH and SMQV go
through batteries pretty fast. You can
easily get through a concert or a play,
but if its an 8-hour conference, you ll
want to change the batteries at the
halfway point.
In addition, caution should be used
when pushing buttons on the SMQV
beltpack, particularly if you have large
hands. If youre not paying attention,
you can hold down two buttons simul-
taneously and turn the unit off. And,
the menu system in the receiver chassis
is a little awkward to navigate. It uses a
rotary encoder to scroll through menu
choices and to go down the list you
have to turn counter-clockwise. It had
me going the wrong way while scroll-
ing through menu options.
Note, however, that these are not
mission critical issues, and I found as
with almost all gear that I got used to
them the more I worked with the sys-
tem. And while these things are worth
a mention, Im thoroughly happy with
this wireless package. As noted, it
sounds superb, I have had zero RF
issues, and having it ready to use is as
simple as turning it on and scanning
for a free frequency.
In fact, Im going to be specifying
Venue for my next band project, where
it will t in perfectly. The band has
two lead singers that both play acous-
tic guitars, so I ll use two HH trans-
mitters for the vocals and two SMQV
transmitters for the guitars. The HH
transmitters will be using the talkback
function so that both of the singers
can communicate with the monitor
engineer without leaving the stage
and all of this will t in a single
rackspace. Perfect.
The VRMWB chassis lists for
$1,920; VRS standard receiver modules
list for $475 each; HH transmitter lists
for $1,500; SMQV transmitter lists for
$1,932, and the SNA600 antenna lists
for $125. All prices are U.S.
TIM WEAVER is the owner of
Weaver Imaging (www.weaverim-
aging.com), an audio, lighting, and
projection provider based in College
Station, TX. He has been a professional
sound engineer for 18 years, working
across all genres.
Waves live sound solutions
are used by front-of-house
and monitor engineers for the
biggest names in show business.
Now, bring Waves studio-quality
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Find out more at waveslive.com
INTEGRATED SOLUTIONS FOR
>>>>
Smooth Performer
Sound for new eTown Hall. by Live Sound Staff
SIA Acoustics, based in New York City,
as acoustical engineers and consultants.
Nick had a very specic vision for
this new facility. The scope of that vision
included multiple spaces that required
isolation in a number of areas. Berkow
explains. We started with the structure
down to the new steel beams and all
new walls and oors and then we added
treatment. Then, Nick and I listened to a
few different speaker boxes. Not only did
the live performance room require spe-
cial acoustical treatment, but we had to
choose a sound system that worked well
with the size of the space and the more
rootsy type of music performed.
There were also a number of other
spaces to consider. In particular, isolat-
RECOGNIZED NATIONALLY as a premier radio music program and broadcast
on over 300 stations in North America, eTown has recently completed the renova-
tion of its own 17,000-square-foot specialty venue called eTown Hall, located in
Boulder, CO.
The weekly radio broadcast heard from coast to coast on NPR, public and com-
mercial stations is taped in front of a live audience and features performances and
interviews with top musical artists. The format has attracted former presidents and
icons including Jane Goodall, Jimmy Carter, Sarah McLachlan, Bob Weir, Lyle
Lovett, JJ Cale, Mavis Staples, Willie Nelson and James Taylor.
Founder and host of eTown Nick Forster has been working to create eTown Hall
for many years. Weve been dreaming of having our own space, one that could serve
as a multi-purpose, media-making performance hall and community center all pow-
ered by the sun and now we have it. For a non-prot organization, the process of
designing and building the space took some time, and we had to assemble an amazing
team to get it right, Forster explains. The result is a space that meets the needs of
eTowns performance and broadcast criteria
while paying heed to eco-friendly practices.
The structure that houses eTown Hall
was formerly a Church of the Nazarene
built in 1922. Transforming the 90-year
old building into a state-of-the-art music
hall presented multiple challenges. To meet
the ambitious design requirements, which
include not only the ofces of eTown but
also a live recording facility, multiple edit
suites, a music cafe and the main perfor-
mance hall, Forster chose Sam Berkow and
SNAPSHOT
A recent performance
at new eTown Hall.
Nick Forster and
David Rahn evaluation
one of the venues
Alcons arrays.
Sam Berkow of SIA doing the nitty-gritty
work onsite, ironing acoustical fabric.
Left to right, key contributors to the proj-
ect, including Sam Berkow, David Rahn,
Marc Nutter and Preston Smits, also of
Sound Sense.
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:: Snapshot ::
ing the recording spaces from the live
venue proved somewhat challenging,
but these are the types of projects where
SIA excels. At the end of the day, every
detail and design consideration had to
mesh with all of the practical challenges
presented by eTown as an organization.
To provide even coverage through-
out the space, Berkow and Forster
chose Alcons Audio pro-ribbon based
compact line arrays, with ve full-range
LR14/90 cabinets own per side. The
LR14 incorporates two 6.5-inch woof-
ers joined by the Alcons RBN401
4-inch pro-ribbon drivers.
A stage monitor package and small
caf system also utilize Alcons loud-
speakers, including six VR8 and two
VR12 enclosures. Both are 2-way
designs that are also outtted with pro-
ribbon HF devices. The compact nature
of the monitor systems worked well in
the design due to sightline consider-
ations, as well as the desire to provide
the same level of delity for the artists
as well as the patrons.
All loudspeakers in the project are
driven by Alcons ALC2 class G ampli-
fiers with integral DDP digital drive
processing modules handle amplica-
tion. These ampliers are designed by
the company for exceptional low-noise
and high-delity to ensure that the rib-
bon drivers are able to reproduce the
original source faithfully.
Sonic Sense of Denver performed
the system installation, with owner
Marc Nutter working closely with
Berkow to measure and tune the system.
On-site factory assistance was provided
by David Rahn, North American sales
manager for Alcons, to help achieve the
nal outcome.
We spent a lot of time listening
to a number of high-end systems but
ultimately chose Alcons Audio for the
smooth performance in the top end,
which we all agreed did the best job of
presenting the type of acoustic oriented
performances that eTown is known for,
Berkow concludes.
A look upward at
one of the venues
ve-element Alcons
LR7 arrays.
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PSW LS1108.indd 2 7/6/11 3:23:15 PM
L1210 pp64,66 Snapshot.indd 66 9/25/12 5:09 PM
As competition comes and goes, Yamahas
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NEWSBYTES
:: The latest news from ProSoundWeb.com::
s Studer has appointed
Mark Hosking to the
position of sales director,
Middle East and Africa,
where he is responsible
for overseeing all sales activities in the
regions. Hosking brings more than 15
years of experience in the professional
audio industry, having begun his career
with AMS Neve in 1997.
s American Music And
Sound has named Bryan
Pistone to the position of
national accounts manager.
A 15-year veteran of the
music industry, Pistone began his career
as a regional sales manager for Freed
International, and has since held positions
with The Stanton Group and Numark.
s Lectrosonics has announced R.
Scott Woolley as its new sales manager
for the U.S. Southwest and Northwest
s PEOPLE
s A STOP AT THE Count Basie Theatre in Red Bank, NJ
gave engineer Melissa Britton the opportunity of mixing
front of house on the new Yamaha CL5 digital audio con-
sole while out on tour with saxophone player Dave Koz,
joined by special guest BeBe Winans.
I was denitely interested in using the new Yamaha CL
console when I heard about it, states Britton. Ive been
using the PM5D for a long time, and was pleasantly sur-
prised when I nally got to use the CL. ACIR Professional
(Egg Harbor Township, N.J.) co-owner Ed DiBona asked
me if Id be interested in using the console, and I was so
happy he brought it in. It was really fun to mix on and easy
to get around on. I was comfortable instantly.
Britton adds that the Yamaha CL console has some
really unique features that neither the M7CL nor the 5D
have. I love the fact that Yamaha took the very best parts
of each of those consoles and added a bunch more cool
features like the Premium rack, love that, she says. The
console sounds good and it feels good. The CL has more
input and output options which is great when Im mixing
monitors.
Another great feature is that you can record straight to
a USB thumb drive, which I did at the Basie show, and was
amazed when I listened to what was coming through the
headphones. You can also cue processing and effects from
the touch screen, as opposed to going to the channel.
L1210 pp68-70 NewsBytes.indd 68 9/26/12 9:39 AM
regions. Based in South
Jordan, UT, Woolley most
recently served as senior
engineer for the LDS
(Latter-Day Saints) Church
Media Services Department, and prior
to that, he was director of product man-
agement at Salt Lake City, UT-based
ClearOne Communications.
s ATK Audiotek
has named Michael
MacDonald to take
over as president and
the leadership of the
companys business development, sales
and marketing programs, coincident
with the retirement of outgoing president
Michael Stahl. MacDonald has more
than three decades of experience in
the professional audio industry, most
recently having served for ve years as
vice president of sales and marketing at
Harman Professional.
s JBL Professional supported the
recent Artists for Autism benet in
Tarzana, CA, providing a VRX Series PA
system. Held at live music venue Peties
Place, the event featured performances
by Resurrect the Machine, Ronny
North, the Back Beat Brawlers and Jeff
Iftekaruddin.
Becki Barabas, marketing coordina-
tor for JBL Pro, hosted the event. All
proceeds were donated to the Autism
Speaks foundation. In the photo above,
left to right, is Ronny North, Barabas,
and Andre Mankina and Kurt Barabas
of Resurrect the Machine.
s For the fth time, Shure has been
named one of Chicagos 101 Best and
Brightest Companies To Work For by
the National Association for Business
Resources (NABR). The award was
established to honor companies that rec-
ognize associates as their greatest asset.
s Lombardi S.R.L., a full-service hire
company based in Termoli, Italy, is now
an Adamson Systems Energia E15
partner. Founded in 2005 by Pasquale
Lombardi, who also serves as head
sound engineer, the company employs
45 people and works with some of the
biggest names in Italian touring, includ-
ing Gigi DAlessio and Anna Tatangelo,
in addition to providing sound produc-
tion for events such as Umbria Jazz &
Notte Della Taranta.
s Several Allen
& Heath iLive
digital mixing
systems were
utilized by APR
Audio and
SXS Events for
separate Olympic events in Weymouth
(England), site of all sailing events. Som-
erset-based APR deployed iLive systems
for the opening night at the Weymouth
& Portland Beach Live Site, which
hosted live entertainment, welcomed the
Team Great Britain Sailing Squad, and
broadcast a live screening of the London
opening ceremony.
The company employed the larg-
est control surface in the series the
iLive-176 at front of house, with an
iLive-T112 at monitors, both fed from an
iDR-64 MixRack. Meanwhile, SXS Events
s COMPANI ES
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:: News Bytes::
managed the Bayside Festival, which
was hosted alongside the Weymouth
Olympic Sailing Events. The festival had
two outdoor stages, and iLive-T80 and
a T112 iLive systems were used on the
main stage for house and monitors.
s Nike Basketball returned to New York
City this summer with a tournament
featuring top streetball players from the
Bronx, Brooklyn, Queens and Harlem,
playing at a temporary location dubbed
Rivington Court in a schoolyard on Man-
hattans Lower East Side. Visual World
Systems, headed by Ike Eckstein,
supplied the audio-visual package for
the summer tournament, including eight
QSC Audio K12 two-way, 12-inch active
loudspeakers and a pair of QSC KSub
dual 12-inch active subwoofers, with
environmental covers to protect against
the elements.
s Midas consoles delivered a solid
sound foundation at this years rather
wet and muddy T in the Park Festival
in Scotland, featuring bands includ-
ing Snow Patrol, Florence and The
Machine, The Stone Roses, and others.
Ensuring sound quality on the Radio
1/NME Stage was Scottish rental
company EFX Audio, headed up by
engineer Steph Fleming, who supplied
two XL8s and a PRO2C at FOH, as well
as a PRO6 and a PRO9 for monitors.
s The new
Bridgestone
Americas world-
wide technical
center in Akron,
OH features
wide open
spaces, including the structures east and
west wing intersection at a three-story
atrium area that serves as buildings
social nexus.
As Gary Matthews of Middleburg
Heights, OH-based Audio Video Interi-
ors explains, even with a fair amount of
acoustical treatment, the environment
was a challenging one.
AVI recommended three Renkus-
Heinz Iconyx steered arrays to cover
the entire area. We got it down from 34
speakers to three Iconyx ICX7 units built
into the video wall, with zero visibility,
details Matthews. And the sound cover-
age is far superior, with no distribution
issues and no dead spots. n
ProSoundWeb provides all of the lat-
est pro audio news, and follow PSW
on Facebook and Twitter - just go to
www.prosoundweb.com and click on the icons at
the top of the page.
.
c
o
m
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Full Compass. . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . fullcompass.com. . . . . . . . . . . . . . . . . . . . . . 800-356-5844
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Midas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . midasconsoles.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Radial Engineering Ltd. . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . www.radialeng.com . . . . . . . . . . . . . . . . . . . 604-942-1001
Ramsdell Pro Audio. . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . www.RamsdellProAudio.com . . . . . . . . . . . . 727-823-8037
Rational Acoustics . . . . . . . . . . . . . . . . . . . . . . .9 . . . . . . . . . . www.rationalacoustics.com . . . . . . . . . . . . . . . . . . . . . . .
Renkus-Heinz, Inc. . . . . . . . . . . . . . . . . . . . . . . 49 . . . . . . . . . www.renkus-heinz.com . . . . . . . . . . . . . . . . . . . . . . . . . .
Riedel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 . . . . . . . . . www.riedel.net . . . . . . . . . . . . . . . . . . . . . . . 818-241-4696
Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . www.SennheiserUSA.com/TheNewAlpha . . . . . . . . . . . . .
Shure Incorporated . . . . . . . . . . . . . . . . . . . . . . .5 . . . . . . . . . . www.shure.com/americas . . . . . . . . . . . . . . . . . . . . . . . .
Sound Productions . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . www.SoundPro.com. . . . . . . . . . . . . . . . . . . 800-203-5611
Soundcraft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 . . . . . . . . . usa.soundcraft.com . . . . . . . . . . . . . . . . . . . 888-251-8352
Waves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 . . . . . . . . . waveslive.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Yamaha Commercial Audio Systems, Inc. . . . 27,67 . . . . . . . . www.yamahaca.com . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Live Sound International provides this index as a service to advertisers. We assume no responsibility for errors or omissions.
LIVE SOUND International is an applications-based publication targeted at professional individuals and companies active in the business of live sound production and all allied elds. Editorial Content includes descriptions and demonstrations of audio production
techniques, new products, equipment applications, maintenance, systems management, acoustics and associated commercial concerns. Opinions contained in articles do not necessarily reect the opinions of the staff of LIVE SOUND International. The publisher, editor
and writers accept no responsibility and do not guarantee the accuracy, timeliness, reliability or completeness of the information contained herein. LIVE SOUND International hereby makes no representations or warranties of any kind, express or implied, for any of the
various products mentioned. LIVE SOUND International
magazine and website are published by EH Publishing, Inc. Copyright 2011 EH Publishing. All rights reserved.
ADVERTISERINDEX
L1210 pp71 AdIndex.indd 71 9/26/12 2:33 PM
BACKPAGE
Not Created Equal
One guys take on the EQ process. by Greg Stone
FROM THE OUTSIDE LOOKING IN, the term equal-
ization seems harmless enough: Using equipment to tame or
enhance audio frequencies in order to obtain a more balanced
overall effect.
When Im working a gig, after the old Are you the DJ?
question, the next thing I usually hear involves EQ: How do
you do it? While some prefer to let the new automated gear
do the lions share of the EQ setup, others go by ear. My own
preference is a combination of both.
But whether Im using a single 1/3-octave unit or a string
of EQs for each channel in the system, my process remains the
same. Once the PA is up and operating normally, I address the
room, using a pink noise generator and RTA device to check
the overall response curve of the house. This gives me an idea
what the room needs.
As for preferred tools, there are numerous software pack-
ages available, and a lot of them do the job. Lately Ive been
favoring handy RTA apps being able to walk around the
coverage area with my iPad is a big help.
Front of house is a great spot to start, but is by no means
an accurate nal setting location. Room modes, comb ltering
effects as well as lots of other gremlins exist in every house.
They must be hunted down and addressed.
Im a big cut over boost fan. Most of my EQ curves,
oddly enough, look like gentle sine waves just slightly inter-
rupted with some notches. Ill cut the room mode as well as
obvious ring points by 6 to 8 dB. For better vocal clarity, I
look at the 2 kHz to 4 kHz region, boosting up to 2 dB or
so. It all depends on the brightness of the room, combined
with the fact that Im a big fan of getting the vocals heard
over the mix.
After working with pink noise is done, I move along to CD
tracks as source material, either from the band thats going
to be using the system, or something very similar. I use CDs
because I believe them to have superior response and compres-
sion characteristics over the iPod devices.
From here, I leave it to my ears, and its also where personal
preferences come in, things that dont show up in any measure-
ment system. Still, I only make ne adjustments (emphasis
again on ne), if at all. A little goes a long way.
By all means, stay away from compression on the mas-
ter outputs. While it might add lots of punch to the house,
squashing the mix destroys dynamic range. Save compressors
for the individual channels. (Thats a whole article in itself!)
If the console is digital, theres he opportunity to adjust the
Q or bandwidth of any frequencies being cut or boosted. Its a
big help in getting things ne-tuned.
Either way, once the house system is relatively at and the
room tamed as much as possible, its time to focus on sound
check. I dont care what anyone says, its very important to take
the time necessary to get each channel EQ set the way you feel
is best. Its not something to be rushed.
Whether mixing three channels or 30, once each channel
is set up, take a glance at whole console EQ conguration. If,
for example, theres a whole row of lows cut 6 dB, its prob-
ably time to readjust the house mix EQ to cut the lows at that
level, and then operate the channels near at. Again, a little
goes a long way.
Once things crank up for the show, there are numerous
things to contend with. Human bodies, temperature, humidity,
and monitor spill will try their best to shake us. The key is not
rushing into panic tweaking.
Let the band (and ourselves) settle into a rhythm. Relax
into the mix; make singular and small adjustments, and listen.
Unless we make a lot of jerky adjustments, the audience will
never notice, and were able to make them happy while calmly
perfecting the craft of mixing. n
GREG STONE has worked in live sound since 1976
and is the owner of Hill Country Ears Sound Company
(www.hillcountryears.com) in south Texas.
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L1210 pp72 Back Page.indd 72 10/1/12 12:06 PM
LS1207 ppxx Crest.indd 1 6/26/12 1:34 PM
LS1210 ppxx Adamson.indd 1 9/11/12 2:07 PM

2012 Livesoundintl October

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