Archive for December, 2010

FAME FOR FAMED ABBEY ROAD CROSSWALK

Filed under: — George Petersen @ 6:40 pm

 abbey road album cover
By George Petersen
THE PEDESTRIAN CROSSING that appeared on the cover of The Beatles’ Abbey Road album, located near London’s Abbey Road studios, has been granted a national landmark. It isn’t often that a crosswalk gets such attention, but it’s now been deemed as achieving Grade II status, which recognizes it as having “nationally important and of special interest.”
Actually, the current “zebra” crossing (called so due to its familiar striped pattern), is not in the precise actual location of the one on the record cover, as the present crosswalk is a bit farther down the street from the original locale, but it’s close enough. But certainly what is close is the number of close calls and actual injuries that result from people stopping to recreate that classic pose while friends stand in the middle of the street with their back to oncoming traffic to get the shot.

For some entertaining fun, check out this live webcam view of the famed Beatles crosswalk from Abbey Road Studio’s live video feed. Here’s the link CLICK HERE for live webcam link.

But either way, it’s certainly both a globally recognized (and oft parodied) icon as well as a major spot on most tourist itineraries. For the world’s most famous, it’s a fitting honor that’s long overdue.

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>>>For an exclusive, mini-video tour inside Abbey Road Studios (hosted by Gino Robair) CLICK HERE
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>>>For some historical insights into Abbey Road Studios by Mix’s Blair Jackson, CLICK HERE
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George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.

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LOSS OF A GREAT VENUE

Filed under: — George Petersen @ 3:47 pm

 Coda Jazz Supper Club
By George Petersen
ANOTHER VICTIM OF BAD ECONOMIC TIMES, San Francisco’s Coda Jazz Supper Club is slated to close Jan. 1, 2011. Owner Bruce Hanson created a wonderful, intimate venue spotlighting the great local jazz scene, with a top-end, all-analog sound system, great bar selection and fabulous cuisine.
In a world ruled by cheaper=faster=better, the words “audiophile” and “club installation” are rarely used in the same sentence. But that wasn’t the case with San Francisco’s Coda Jazz Supper Club, a new venue that took an analog-only approach to its sound system-without breaking the bank.
System designer Michael Ricci of Ricci Sound saw the project as a challenge. “The venue was previously a restaurant/DJ club with no acoustical treatment or considerations about AC power. It was a noisy mess,” Ricci said. “I suggested an all-analog route, with a Midas Venice 320 console feeding a system with no digital system controllers or Class D amplification.”
The focus was on sonic purity. The only digital component is a TC Electronic M-One XL that can be patched into the effects bus if needed. Also, no compressors or gates are employed. “That’s a major contributing factor to the fidelity of the install,” Ricci explained. “It’s all about headroom, and the system delivers more than 6,500 Watts. Compression and gating are not always necessary if the sound engineers know how to control and apply available headroom.”
The loudspeakers are all Bag End. Ricci worked closely with Bag End’s President Jim Wischmeyer and Jedi Audio Engineer Henry Heine. They suggested three Opal-I long-throw mains for LCR, two D18E-I double-18 subs, and PTA1200-RF powered floor wedges. Ricci liked the sound of the system, and he was equally impressed with Bag End’s level of customer service. “Without that support, I could not have installed this system on time or on budget,” he added.
The amps are Crown Audio and QSC, with Bag End’s Infra-MX2 dual integrator handling crossover duties and providing system protection. System EQ is a Klark Teknik Square One (mains) and two dbx 231s on the monitors. For more stage space, JK Sound of San Francisco was brought in to fly the system (including subs), ensuring the load is properly distributed across the ceiling beams.
In keeping with the analog theme, don’t expect to find fiber optics or Cat-5 wiring. “We ordered a custom, oxygen-free copper, thin-strand snake from Radial. It wasn’t ready in time for the club opening, so we used a generic brand snake at first,” Ricci recalled. “Installing the Radial made quite an audible difference.
Working with the electrical contractor, Ricci segmented the motors and inductive loads on a separate leg that came into the main switch panel to keep things like the freezer and soda dispensers well out of the audio system. But it didn’t stop there. “We also ran a separate isolated ground wire to each outlet and used hospital-grade outlets with the extra ground lug. We added Furman power conditioning to the FOH feed and amp racks for low noise. It all cleaned things up nicely.”
Tight budgets often mean acoustics are shortchanged, but Ricci applied some high-end approaches, such as constructing the stage with extra reinforcing mass and floating the structure, decoupling it from the floor with thick rubber slabs, much like recording studio construction. He put a 12in. cutout in the back stage wall, filled it with Owens Corning 701 and 703 fiberglass, and covered it with felt to create an effective bass trap. Hung above the stage, he built custom 4×4-foot absorber/diffusers. “These work great and help control the sound pressure level of the stage volume down in the room,” he said. “It really makes it easier for musicians to hear each other on stage.”
The best part? The system works. Throughout the venue, I heard sound levels that were even, with great fidelity and consistent coverage; this enabled mixers to realize Coda owner Bruce Hanson’s dream of an audiophile listening experience that showcases the area’s diversity of jazz artists.
If you’ve never experienced Coda, get in there for one of the last remaining dates. Check it out at Coda Jazz Supper Club
When not working on MIX stuff, George Petersen operates Jenpet Records. Click here for “Voodooville,” featuring Jenpet artist Chelle! & Friends performing at Coda.

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