Briefingroom

Mixonline Briefing Room

Archive by Christopher Shuler

Positive Grid Releases BIAS Desktop Amp Matching Modeler

BIAS Logic ProPowerful guitar amplifier modeler captures the tone and feel of any real tube amp in a fully customizable plug-in

San Diego, CA – October 2014 –
Positive Grid proudly announces the launch of BIAS Desktop, a groundbreaking guitar amp modeler with Amp Matching™ technology that offers an entirely new concept of putting any tube amplifier tone and feel into a plug-in (AAX/RTAS/AU/VST) for Mac and PC. BIAS Desktop features the most accurate, thorough and versatile guitar-amp modeler and designer engine, and it can accurately capture the tone of any tube amplifier. Users can then share or download amp models from BIAS’s built-in ToneCloud® amp-sharing platform. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: New Products, News, Recording |

L-ACOUSTICS Has Oregon Music Festivals Covered

Justin Moore heard via K2 arrays at Cape Blanco (credit for all photos: Jeremy Polzel)

Justin Moore heard via K2 arrays at Cape Blanco (credit for all photos: Jeremy Polzel)

U.S. Audio & Lighting deploys K2 system for large country music events

BROWNSVILLE / SIXES, Oregon — Music festivals have increased in number and diversity in recent years, and regional festivals have enjoyed explosive growth. Two of this season’s most successful regional festivals took place this August in Oregon where the five-year-old BI-MART Willamette Country Music Festival in Brownsville (August 15-17) drew upwards of 25,000 fans who came to hear acts like Blake Shelton, Gary Allen and Eric Church. Regional discount retailer BI-MART also launched a new sister festival in Sixes this year, the Cape Blanco Country Music Festival (August 1-3), which attracted as many as 15,000 to hear Brad Paisley, Eric Church and Justin Moore, among others.

These two festivals represented country music at its best, but what really tied both together – aside from their mutual corporate sponsor – was the sound provided at each site by U.S. Audio & Lighting’s L-ACOUSTICS K2 system. “The music sounded excellent in both places,” says Patrick Coughlin, general manager of U.S. Audio & Lighting North, the Northern California branch of the North Hollywood-based company that has become one of the largest K2 users in the States. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: Live Sound, News |

DiGiCo Tops the Feed Chain on Linkin Park’s “Carnivores” Tour

Ken "Pooch" Van Druten mans the FOH mix on a DiGiCo SD7

Ken “Pooch” Van Druten mans the FOH mix on a DiGiCo SD7 (credit for all photos: Vic Wagner)

Ken “Pooch” Van Druten and Kevin “Tater” McCarthy ride like kings on new SD7 console pair

AGOURA HILLS, California — Following the release of the band’s sixth studio album, The Hunting Party, nu-metal pioneers Linkin Park recently sprang out on the first leg of their 25-date “Carnivores” North American tour with supporting acts 30 Seconds To Mars and AFI.

With Escondido-based Sound Image providing sound reinforcement for the trek, much has changed from previous tours – but not the guys riding faders at FOH and monitors. In a move driven by both I/O needs and the increased sound quality of a 96 kHz system, Ken “Pooch” Van Druten and Kevin “Tater” McCarthy have moved from their previous digital mixing console choices to a brand new pair of DiGiCo SD7 desks. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: Live Sound, News |

DiGiCo Monty Python

(L-R) Dave Dixon, Rory Madden, Toby Chester and Simon Fox at the two FoH SD7 desks

(L-R) Dave Dixon, Rory Madden, Toby Chester and Simon Fox at the two FoH SD7 desks

Forty-five years after they first hit our television screens, a comedy super group reunited. Monty Python Live (mostly) brought together five of the six original Pythons – John Cleese, Michael Palin, Eric Idle, Terry Gilliam and Terry Jones – for ten sell out dates at London’s O2 arena this summer. DiGiCo consoles were deployed at both FoH and monitor positions for something completely different…

With an audience of Python aficionados requiring that every word be heard, the challenge of delivering perfect audio for this full-on theatre show in just two weeks was taken on by sound designer Rory Madden and a crack crew. “They’re the best I’ve ever had in 40 years working in the business,” he says.

Rory’s company, Sonalyst, also supplied all the sound equipment. His familiarity with the venue – he works on between 15 and 20 shows at The O2 each year – means that he is well versed in what works and what doesn’t, and his choice of three DiGiCo SD7s (two at FoH, and one at monitors sharing six SD Racks between them) for mixing duties was an integral part of his design.

Bill Birks at the SD7 monitor console

Bill Birks at the monitor SD7 console

Dave Dixon, mixing the band, and Simon Fox, handling vocal mixes and sound effects, took up the FoH positions, whilst Bill Birks manned the monitor desk.

“We had two operators at FoH because there was a lot happening in the show,” explains associate sound designer Toby Chester. “Although we still tried to keep everything very simple.”

“We had over 60 channels of radio microphones,” Madden adds, “so it would have been hard for one person to be across both areas quickly at the same time. Having two engineers working together at FoH gave us accuracy and full control of the production.”

Monty_Python_SD7sFOH_2As well as the live shows, broadcast specialists RedTX delivered a live feed of the finale to televisions and cinemas around the world. The company’s trucks were fed full MADI streams – an aspect of DiGiCo’s SD Racks that Madden was keen to fully utilise within his design – to ensure that viewers got exactly the same as was happening on stage.

“It’s a really good show and it’s all worked very well,” says tour manager Tony Harper. “The results spoke for themselves.”

“It was an honour to be involved with such a show like this,” concludes Rory. “The functionality and reliability of the DiGiCo SD7s meant that we were able to deliver excellent audio both in the venue and to the thousands of people not lucky enough to be able to come to the live shows.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: Live Sound, News |

L-ACOUSTICS in Control at Primavera Festival

Midlake playing at Primavera with L-ACOUSTICS KARA    (all pics: Louis Austin)

Midlake playing at Primavera with L-ACOUSTICS KARA (all pics: Louis Austin)

Twin Cam Audio designs massive rig for five stages at one of Spain’s largest music festivals

BARCELONA, Spain — Noted for its eclectic line-up, Primavera is an annual music festival that takes place in the Parc del Fòrum leisure site in Barcelona, close to the Balearic coastline. One of the largest music festivals in Spain, Primavera audiences are regularly in excess of 100,000 and the atmosphere is always second to none.

This year, long-time Primavera audio provider Twin Cam Audio specified L-ACOUSTICS for five of the festival’s seven stages. Right from the beginning, Twin Cam’s technical director, Juan Cid, worked hand in hand with L-ACOUSTICS touring application engineer Frederic Bailly to jointly design all five stages. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: Live Sound, News |

K2 Becomes NYC’s Newest Flying Superhero

See Factor deploys brand new L-ACOUSTICS system at acoustically challenging Javits Center for worldwide premiere of X-Men: Days of Future Past

NEW YORK CITY — For the launch of the summer blockbuster film X-Men: Days of Future Past, 20th Century Fox staged its worldwide premiere at the Jacob K. Javits Convention Center on midtown Manhattan’s west side.

The debut of the $200-million-plus film, attended by Hugh Jackman, Jennifer Lawrence, Patrick Stewart, Halle Berry and other stars, was a huge event filling a hall inside the cavernous Javits Center and illuminating a 75-foot-wide screen hung on the hall’s north wall. The showing also had to be able to reproduce the film’s bombastic 5.1 surround soundtrack, but the Javits is no cinema; the same huge floor-to-ceiling glass wall that offers spectacular views of the Hudson River and New Jersey can also create uncontrollable aural reflections that would turn the hall into an acoustical nightmare.

Event producer Samantha Sackler Productions tapped NYC-based See Factor Industry, its longtime collaborator on east coast events and movie premieres, who called upon the sonic equivalent of a superhero: L-ACOUSTICS’ K2, a lightweight, high-powered, full-range line source array system that made its official debut earlier this year. For the X-Men premiere, the AV specialist deployed 24 K2, 12 SB28 subs and 16 coaxial 115XT HiQ wedges, all powered and processed by L-ACOUSTICS’ LA8 amplified controllers. See Factor also provided all lighting, rigging and management services for the event. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Live Sound, News, Sound for Picture |

Lady Antebellum Goes To Town On K1

Lady Antebellum performing at Toronto's Air Canada Centre on Sound Image's K1 system

Sound Image carries full L-ACOUSTICS rig on group’s latest North American tour

NASHVILLE — “Take Me Downtown” is Lady Antebellum’s third headlining tour, taking the GRAMMY Award-winning trio across North America and into a wide range of venues, including casinos, civic centers and amphitheaters, both indoors and outside. It began in January in Peoria, Illinois and ran nearly nonstop through June, when the band began its summer state fair itinerary.

For the entire first half of the year, Lady A worked exclusively with touring sound provider Sound Image’s L-ACOUSTICS K1 line array system. Sound Image’s Mike L. Adams, who handles the account, comments, “The K1 system is reliable, consistent and never lets us down. When we deploy this system, every night sounds incredible and we never get one of those late night calls. The peace of mind is invaluable.”

For most of the group’s performances, Sound Image flew left and right main PA arrays of 14 K1 plus four KARA downfills, each flanked by six flown K1-SB subs. Outfills were comprised of 12 KUDO per side, while four SB28 subs per side groundstacked below in cardioid configurations anchored the low end reinforcement. Four more KARA – two per side – were additionally deployed as stage frontfills.

Tour openers Kip Moore and Kacey Musgraves join Lady Antebellum onstage

K1 proved to be as flexible as it was great sounding with the band’s longtime FOH mixer, Brett “Scoop” Blanden, and Sound Image’s Jim “Fish” Miller as the tour’s systems engineer able to perfectly configure the rig to exactly fit each venue. In some stops, as few as eight K1 enclosures per side were enough to fill the room; larger venues took the full complement, with 18 per side, and anything in between. Blanden estimates that they deployed an average of between 12 and 14 boxes per side each night, underscoring the range of room types the tour covered. Twenty-four L-ACOUSTICS LA8 amplified controllers housed in eight LA-RAK powered the system. What never changed, though, was K1′s sonic performance.

“The K1 is a really amazing PA system,” lauds Blanden, noting that the speakers’ frequency response is so full range that they were able to do at least one smaller corporate-event show in Tallahassee without subwoofers. “And when we did outdoor shows, the system would throw for days. It has tons of projection. With other arrays of similar size, you might need to use a delay array, but the K1 seems to out-throw them all. And its waveguide is really impressive, keeping the frequency response consistent at all times.”

Blanden was also appreciative of how that waveguide kept the sound dispersion consistent, allowing the band to confidently use the stage thrust without concerns about feedback. “I’d say that as much as 75 percent of the music is performed between 43 and 53 feet in front of the PA system,” he explains. “We had a peak show volume of 102 dB and an average between 99 and 100, and we were running at least four open dynamic RF vocal mics at one time on the thrust. But the K1′s waveguide is designed to compensate for the curvature of the diaphragm. It affords us even frequency coverage at distance, so I didn’t have to get into the graph like I would have had to using other PAs.”

But it’s the spectral neutrality of the K1 that allowed Blanden to make it the band’s own. “The flat frequency response of the K1 is incredible,” he says. “It’s like a blank canvas for music – it gives you back exactly what you put in, so it’s a great system for any type of music. It certainly has been for Lady A’s.”

For more details on Lady Antebellum’s schedule, visit www.ladyantebellum.com. Sound Image can likewise be found online at www.sound-image.com.

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for North America is handled by L-ACOUSTICS’ subsidiary in Oxnard, California.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Live Sound, News |

Cher Tour Dressed To The Nines With DiGiCo SD7s

Cher FOH engineer Dave Bracey at the house console

BERLIN, Germany — Cher recently completed the first North American leg of her Dressed to Kill (D2K) tour, which is scheduled to resume in Albany, NY in mid-September and run through early November, encompassing a grand total of 74 shows. The tour features three DiGiCo SD7 consoles supplied by Black Box Music of Berlin, Germany, the live sound production provider for the entire tour, which are operated by Dave Bracey at front of house with Jon Lewis mixing monitors for Cher and Horst Hartmann supplying monitor mixes to the seven-piece band, dancers and technical crew.

Cher is the only artist to reach number one on the Billboard singles chart in each of the past six decades, and has sold over 100 million solo albums worldwide, plus more than 40 million records with husband-and-wife pop duo Sonny & Cher. The D2K tour, Cher’s eighth solo venture, reunites the three engineers, as well as system tech Ulf Oeckl, other crew members and some of the musicians, who all worked together on P!NK’s 140-plus-date The Truth About Love tour, which wrapped in early 2014.

Band monitor engineer Horst Hartmann at one of the two monitor desks

Bracey, who made the transition from DiGiCo’s D5 to the SD7 for Massive Attack’s 2008 European tour, and whose resume includes extensive touring with The Cure, Robbie Williams and Björk, reports that he typically does a lot of programming in the console. With Cher going through nearly a dozen costumes during the 18-song show, the D2K tour features numerous film and video montages while the star is offstage changing. As Bracey reports, some of the audio for the archival footage is less than pristine: “You have to process it in a way that makes it intelligible in the room,” he says. “So every interlude between every song needs its own snapshot. Some of the archival movie clips have such disparate audio signatures that only some well-adjusted multi-band comp and a channel of dynamic EQ would make the whole segment intelligible. The SD7 offers so much that I am yet to use a plug-in.”

The programmable features of the SD7 are part of the reason that Bracey has used the console exclusively for the past six years. “It’s infinitely controllable, but it never controls you or gets you into a situation where you’re too scared to call up the next snapshot. It makes life easy.” Like the D5 before it, he says, the SD7 allows the operator to update a single snapshot or apply changes across every snapshot, on the fly. “No other desk does it as well – that’s the reason I still use it. I see no reason to mix on any other console,” he says.

With Cher making so many costume changes it makes sense to have one mixer focusing solely on her needs, according to Jon Lewis, who has worked with AC/DC, David Gilmore, Paul McCartney and many others. “DiGiCo is my go-to board,” says Lewis, not least “for the support that you get from the guys, especially initially setting it up.”

The three SD7s are on an optical loop that allows the three engineers to share anything on the network, including video and communications. “That gives us the ability to throw something to each other at the click of a button, as opposed to having to go and find some XLR cables and patch it,” says Lewis. “If Dave suddenly needs her talkback mic, he can get it. If I need Dave’s effects returns, they’re there. It’s very quick and easy. And the ability to send video feeds around the system is great as well.”

“Even simple things like text chatting during the show,” Bracey chimes in. “If there’s something that’s not worth disturbing someone over, you just send them a message and they can answer in their own good time.”

Hartmann, whose credits include Kraftwerk, Scorpions and Sade, generates 12 stereo and 12 mono sends from his SD7. He manages all of the wireless equipment and crew communications while also feeding mixes to the musicians, who are all on in-ear monitors, several of them with separate ButtKicker low frequency effects feeds, and the dancers, via floor wedges and flown sidefills. “Every musician has a talkback mic, every crew member has a talkback mic,” says Hartmann, noting that all of the technicians are either under the stage or off to the sides. “There’s a lot of communication going on.” Since their sightlines are obscured, Hartmann and Lewis are able to follow the on-stage action on their consoles’ video screens.

At front of house, Bracey multitracks the entire show at 96 kHz to a laptop using DiGiGrid MGB coaxial MADI interfaces, both as an archive and as an aid to perfecting his mixes. “Two little boxes, a couple of Ethernet cables into an Ethernet bridge and into the computer – how easy is that? Most days I feel the need to listen back to it,” says Bracey. “It’s always very revealing.”

For more information on Black Box Music and Cher’s D2K tour, visit: www.black-box-music.de/en

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Live Sound, News |

A United ‘Console’ Kingdom

DiGiCo, Allen & Heath and Calrec announce the formation of a new ProAudio Group

The DiGiCo team has spent the last 18 months consulting with Electra Partners about the possible combination of both Allen & Heath and Calrec with the DiGiCo family. The culmination of this brings together three British console companies to create a new professional audio group, while retaining their unique skills, customer relationships and the identities of each brand.

James Gordon will become Group CEO supported by a strong and talented management from across the new group. When asked about what this means for the future, James said:

“We have bold plans for the group but it is imperative that each company maintains its own independence and style. None of these brands needs to trade off each other’s technology or reputation.”

“These are three great companies and all the brands currently in the group have enviable reputations for technology, audio quality, reliability and perhaps, most importantly, customer focus and care. The strategy is to share technology and resource across the group and allow some interconnectivity across the product lines.”

“The combined R&D teams are about to enter a new world of possibilities and we intend to take full advantage of their resource, passion and experience. It’s an amazing opportunity for us, and just maybe the whole British Pro Audio industry.” more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Industry News, Live Sound, News |

Thunder Audio Rolls and Roars with L-ACOUSTICS

Thunder Audio's Tony Villarreal (left) and Paul Owen with a few of their new L-ACOUSTICS K1 enclosures

Detroit/Nashville sound company purchases K1 system after taking K2 on Vampire Weekend tour

LIVONIA, Michigan — After putting a new K2 loudspeaker system through its paces – including a recent trek on Vampire Weekend’s North American tour leg – Thunder Audio, Inc. has expanded its inventory with a large-format K1 system from L-ACOUSTICS.

According to Thunder Audio Business Development Manager Greg Snyder, the company is currently taking delivery of 48 K1 enclosures, as well as bringing the rest of its total L-ACOUSTICS inventory up to 36 K2 and 24 KARA elements, 18 K1-SB and 34 SB28 subs, six ARCS II and 22 LA-RAK, each loaded with three LA8 amplified controllers. An additional 48 K2 are also on order for the first quarter of 2015.

“K1 has become the industry’s first choice for live audio reinforcement systems, but K2 is the reason we finally became a member of the L-ACOUSTICS family,” says Snyder. “It’s a stellar system for arena tours, like Vampire Weekend, as well as the perfect support box for K1 on larger stadium and festival shows. We are thrilled with the linearity in performance across L-ACOUSTICS’ entire product range and excited about the solutions that these systems will provide for our clients.”

Vampire Weekend performing on Thunder Audio's K2 system in Chicago

Client response has, indeed, been very favorable. Neil Heal, Vampire Weekend’s FOH engineer since late-2007, commented on his use of Thunder Audio’s K2 rig. “The typical configuration on our most recent American tour leg was left and right arrays of 14 K2, plus eight KARA outfills and four SB28 per side, all of which sounded fantastic. It seemed odd to be using so few subs, but more than that would have been overkill with K2, which is such a full range enclosure with a really nice usable low end. Vampire Weekend’s mix is all about vocal and instrumental clarity, and I could literally run the rig without subs in most arenas, but having just a few of them more than adequately filled out the low end.”

“We used K2 both indoors and outdoors, with arrays ranging between eight and 14 boxes per side, and I’m very impressed with the sonic consistency we got from night to night,” he continues. “K2′s ‘steerability’ with Panflex is also really nice in the event that Jonny [Winkler, Thunder Audio FOH systems engineer] had to hang the arrays near a glass wall or whatever; we could aim the top end away from it, which is great.”

Thunder Audio’s Winkler appreciates not only the fidelity of K2, but also the ease with which the system flies and strikes. “We flew the rig so fast each day that the lighting guys and carpenters were angry with me,” he laughs. “It takes longer to get the pins pre-set than it does to fly it, and that doesn’t even take that long. We have several other manufacturer’s boxes in our inventory here at Thunder Audio, and this is by far the fastest and easiest. I’ve flown an entire K2 rig totally by myself in less than four hours.”

Vampire Weekend heard via L-ACOUSTICS K2 at Chicago's UIC Pavilion

As for Heal, his only regret is that he didn’t have the system earlier. “The band was out on the road for 17 months and carried another PA for most of the tour because K2 simply didn’t exist when we started,” he says. “But I really prefer K2. It’s awesome. I’d love to have it every night, without a doubt. But it’ll be available on the next tour, and I’ll certainly take it out again. Plus, our festival stops this summer are on K1 mains with K2 outfills, which is just perfect.”

Thunder Audio Vice President Paul Owen sums up his investments by adding, “This was a huge undertaking by Tony [Villarreal, President] and I, and we had to take a lot into consideration before moving forward with K1 and K2: popularity, demand and, of course, availability. K1 is the first choice on the majority of riders that we handle and the predominant system when it comes to festivals. There’s no denying its sheer power and quality. We feel that K1 and K2 are our best venture to date for attracting new customers and facilitating old ones, and we’re very excited for what these systems can do for our clients and company’s future.”

For more info on Thunder Audio, visit www.thunderaudioinc.com.

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for North America is handled by L-ACOUSTICS’ subsidiary in Oxnard, California.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Industry News, Live Sound, News |

Calendar

October 2014
M T W T F S S
« Sep    
 12345
6789101112
13141516171819
20212223242526
2728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication

Fairlight Xynergi Media Production Centre


Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.