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Archive of the Live Sound Category

Professional Wireless Systems’ Frequency Coordination Hits the Right Note for Telemundo’s Popular Singing Competition, La Voz Kids

ORLANDO, FL, JUNE 30, 2014 – When Telemundo’s highly rated singing competition La Voz Kids kicked off its second season at Universal Studios Orlando, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand to provide all wireless equipment and frequency coordination for the popular show.

La Voz Kids features approximately 140 young vocalists between ages 7 and 15 who are competing for a recording contract and a cash prize to support their education. The second season premiered with over three million viewers on Telemundo.

PWS supplied a range of wireless gear for the show and managed frequencies across the three sound stages, each which were approximately 500 to 1000 feet apart. The main stage, Stage 21, was home to the talent’s performances in front of a live audience and was where the majority of the competition took place. Subsequently, Stage 20 was used as the greenroom and Stage 19, sponsored by State Farm Insurance Company, was where the one-on-one coaching between the judges and talent took place.

PWS provided nearly 50 Shure wireless microphones for the performers throughout the show’s duration. In addition, PWS supplied the show with 40 Telex BTR-800 wireless beltpacks, 32 of which were used on the main stage by the lighting, audio and production crews, camera operators and stage managers. The other eight were kept stationary at Stages 20 and 19 to ensure that the crew had them available for any unanticipated occurrences. To streamline workflow operations, PWS also tied the intercoms into the main PA system, so that the stage announcers’ audio could be projected through the sound system to efficiently communicate with everyone on-location. This proved particularly essential during rehearsals.

In providing its wireless services for the three-phase entertainment show, PWS coordinated and managed a total of 200 frequencies, which included all the performances as well as additional ENG gear that was used to wire up the families to have them reflect on their son/daughter’s most recent performance. PWS’ main RF Coordinator John Garrido faced two main challenges while on set. One of the biggest hurdles centered on the show’s three-phase approach. Each phase or round of the competition was hosted on an entirely new set in order to give the show a fresh look as it progressed. “In between each phase and subsequent rebuild, all of the wiring and equipment had to be reconfigured,” says Garrido. “It was a big task for us, but one that we were happy to take on.”

The location of the show itself also presented PWS with quite a challenge in terms of managing and coordinating neighboring frequencies. “The show was filmed in the middle of Universal Studios, with other shows taping all around La Voz Kids on different, close-by stages,” adds Garrido. “Universal Studios manages approximately 400 frequencies, on a regular basis, and though we were coordinating and managing approximately 200 for La Voz Kids, we always had to be on guard to ensure that surrounding shows’ frequencies were not causing interference. This was particularly difficult to manage, because right behind Stage 21, there was a designated concert stage that hosted multiple live acts during the taping of La Voz Kids, creating the potential for interference. Fortunately, our crew was well prepared, and our expertise allowed us to stay on top of any potential issues.”

To ensure all frequencies were well managed for the duration of the competition, PWS supplied and deployed a majority of its own RF equipment, including a combination of its Domed and Helical Antennas. All in-ear monitors, as well as the Telex BTR outputs were run through GX-8 Combiners for transmission. In addition, PWS utilized its DB Series Multicouplers for all microphone and Telex BTR zoning and distribution. Throughout the show, PWS relied on its own Intermodulation Analysis Software System (IAS), a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range.

La Voz Kids proved to be a very successful show for PWS,” says Jim Van Winkle, general manager of PWS. “Working on a competition of this magnitude for such a long duration can be a cumbersome task, but our crew was well prepared to take on the challenge and did a fantastic job in ensuring that there were no frequency or signal interference problems during the show’s tapings.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mama Mia,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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ASHLY AUDIO PROCESSING AND USER CONTROL STREAMLINES NEW MICHIGAN FUNERAL HOME

HOMER, MICHIGAN: Long established in Michigan, the Craig K. Kempf Funeral Home recently expanded to Homer, Michigan, where it purchased a small funeral home. Kempf immediately brought in contractors to revitalize the existing structure, which itself had originally been a residential house, and ordered an expansion to provide a modestly larger chapel than the existing 30’ x 15’ room. Local A/V firm Crookston Audio designed and installed a new sound reinforcement system for the new chapel and for the remodeled rooms. Based on its simplicity of installation, competitive pricing, and intuitive user interfaces, company president John Crookston specified an Ashly Pema 4125.70 integrated processor & four-channel amplifier together with Ashly RD-8C and WR-2 user controls.

“They originally asked for two zones, one for the new chapel and one for the existing chapel, the lobby, and the fellowship hall combined,” explained Crookston. “They wanted the ability to reinforce a small keyboard, a soloist, audio from DVD or CD, plus, of course, the spoken word from the person officiating the funeral or delivering a eulogy. Those inputs would be reinforced within the new chapel, and they would also be sent to the old chapel and the fellowship hall, which could serve as cry rooms or overflow. We explained that using four zones, one for each room, would give them greater flexibility, with the promise that using the system would be so intuitive that staff would be able to confidently negotiate source selection and volume control with little or no training.”

A two-rack space, four-channel Ashly Pema 4125.70 resides at the heart of the system and delivers 125 watts to each of the four 70-volt systems. The new chapel, which is still a modest 25’ x 35’, has four mic-level inputs, enough for soloists, vocalists, and spoken word. The audio system also takes input from the room’s CD and video sources. A single Community V2-28 two-way loudspeaker provides coverage in the new chapel, whereas Community D5 ceiling speakers provide coverage in the old chapel, the lobby, and the fellowship hall.

User control consists of two complementary controls. First, an Ashly RD-8C remote desktop fader bank allows anyone to sit within the new chapel and mix the input sources in real time. A single cable ties the RD-8C to the Pema 4125.70, which allows the operator to sit anywhere in the new chapel and discretely mix. Second, an Ashly WR-2 resides near the equipment rack and allows staff to send audio from the new chapel to any (or none) of the other rooms.

“As a contractor, I not only have to deliver a great final product, I also have to make money doing it,” Crookston laughed. “Ashly is a great help with that! Ashly equipment is totally reliable. We’ve been using it for years and never had a problem. Moreover, Ashly’s Protea™ signal processing software is common to the entire Ashly line. So my staff can learn Protea, which is quite intuitive, and then install any Ashly product in any size system. There’s no learning curve. As a result, all of our installations are predictable and as easy as they can be, which is the way I like it.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

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Red TX Joins The Remote Recording Network

 

Broadcast audio specialist Red TX has joined Europe’s leading live recording initiative Remote Recording Network. Whilst contributing to managing and engineering music and broadcast assignments on a global and cost-effective basis, RRN offers bespoke solutions that cater for all kinds of transmission, recording, mixing, mastering, duplication and publishing.

Remote Recording Network GmbH had last year joined forces with Dutch mobile recording company Eurosound bv and had integrated the German ‘RemoteTaxi’ enterprise to establish the initial ‘Network’.

Peter Brandt, head of Remote Recording Network and a man with over 30 years’ experience of recording and mixing international rock, pop, jazz, and classical artists, says: “Bringing Red TX into RRN will benefit our European customers by giving them access to a fully digital truck based in Europe that can handle high-end surround sound projects, particularly for broadcast.”

Tim Summerhayes, CEO of Red TX, adds: “I have known Peter Brandt for many years and we have worked together on numerous projects in the past. I am very excited by this collaboration because it allows us to utilize our combined technical resources in a very effective way. There is a huge requirement for mobile digital recording facilities in Europe and by joining forces with the Remote Recording Network we can now provide the necessary human and technical resources to meet this demand.”

Red TX has two state of the art recording units, RED 1 and RED 2. Both are equipped with Studer Vista 8 Digital Mixers, PMC 5.1 surround sound monitoring and Pyramix, Pro Tools and Reaper recording systems. They also have extensive racks of outboard equipment and digital effects, and are internally designed to very high acoustic specifications. RED 2, which is the larger of the two units, will be located as required, between the RRN HQ in Germany and Eurosound bv’s base in The Netherlands, while RED 1 will remain at Red TX’s premises in the UK.

“Our model of using international partners to combine resources and equipment is very valid, especially in a world where businesses need to reduce their carbon footprint as much as they can,” Peter Brandt adds: “By tapping into facilities that are already stationed on different continents, we don’t need to transport huge trucks around the globe. Instead we can ‘travel lite’, frequently only needing to transport an engineer, which minimizes travel costs and keeps our carbon footprint to a healthy low. It also means that we can keep our rates very competitive, too.”

Red TX’s RED 2 unit will make its Remote Recording Network debut in June at the Tuckerville Festival in Enschede, The Netherlands. From there it has a busy summer ahead, working at live events and festivals in various countries.

-ends-

About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD www.remoterecording.net
www.red-tx.com

About Remote Recording Network:
Remote Recording Network is a new initiative that brings together the market-leading live recording companies Peter Brandt Remote Recording and Eurosound GmbH. Years of experience, knowledge and network are now combined to supply an unrivaled, world-class, world-wide recording service.
www.remoterecording.net
For more information, please contact Tony Andrews – tony@awandrews.com

 

Newly Formed Boy Band Cre5cendo Achieves Modern Sounds with HARMAN’s AKG Microphones

MILAN, Italy – Formed around the 15-year old guitar prodigy Gianluca Gentilesca, boy band Cre5cendo ambitiously offers a modern interpretation of Classic Rock, with help from HARMAN’s AKG microphones in one of Milan’s historic studios. While working with producers, KNAGUI of 7:06PM Entertainment Group and Massimo Caso, who also serves as studio engineer, Cre5cendo has found its voice as a band that respects the works of original artists while adding its own unique flavor to the mix.

Working out of Caso’s studio Il Cortile, the producers, who together call themselves GUIMAX Productions, recently cut a cover of “Happy” by Pharrell Williams as one of Cre5cendo’s first songs. Two AKG C12A and two D12 microphones, plus a few 414 and D112 microphones, were used to record the drums, guitar amps and room acoustics for the song.

“What I love about the AKG microphones is that they give a certain life to the recording,” said KNAGUI. “They have a distinct flavor when they pick up the sound, but unlike microphones from some other brands, it’s not so dominant that the microphones only have specific uses. Therefore, the placement is flexible and allows us to bring out the unique qualities of the band.”

The drummer enjoyed a setup of three microphones that covered the overhead, kick and bass, thanks to a cardioid configuration with AKG C12A microphones, which according to KNAGUI is a “modern and realistic approach to the sound. Rather than providing a microphone for each drum, this setup allows the drummer to “be the drummer” and showcase his finesse and proficiency.”

The C12A were the favorite microphones of Caso’s inventory, and also his first choice for the acoustic guitars, providing certain “softness without the dullness. Also, they are able to capture the sounds of electric guitars effectively, which are usually notoriously difficult to record with condenser microphones,” Caso said. “So far, only the AKG C12A and 414 microphones were able to do so!”

While recording the band’s EP this past January, the D12 and D112 microphones were used on the kick drum, while the C12A and 414 were used on the hi-hat and cymbals, providing excellent balance and a natural reproduction of sound in the studio.

“When Cre5cendo was looking for a modern sound with a rock-centric and open approach, I knew the choice and use of microphones would be essential,” said Caso. “This is why AKG’s established heritage in sound is greatly appreciated by me and the band.”

For more information on Cre5cendo, please visit www.facebook.com/cre5cendo

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Strictly Audio STL Counts on HARMAN’s Soundcraft Si Expression Consoles For Regional Festivals

ST. LOUIS, Missouri – Running a small production company in the heart of Missouri, the owner of Strictly Audio STL Bob Walther provides his services to cover local festivals from St. Louis all the way to southern Illinois. While his HARMAN Soundcraft Si Expression 3 console is temporarily installed alongside the integrated HARMAN audio system at the Atomic Cowboy nightclub, his newly purchased Si Expression 2 is responsible for mixing the sound at some of his region’s most popular festivals.

The owners of the nightclub, which has a capacity of 700 people, were sold on the fact that the Si Expression’s core functions can be remotely controlled via the Soundcraft ViSi Remote 2.0 iPad app. This added functionality allows the 32-channel Si Expression 3 console to be stored away behind a barricaded space, freeing up precious room for customers, while the operator roams free through the crowd.

Besides the console, the audio system at the Atomic Cowboy features one JBL STX825 loudspeaker on each side of the stage and two SRX728S subwoofers under the stage, powered by two Crown I-Tech 6000 amplifiers, as well as three JBL SRX712M monitors powered by two Crown XTI2002 amplifiers. The sound is further enhanced by a dbx DriveRack, which provides optimum control of equalization and loudspeaker management.

“The evening after the installation was completed, a show took place that exceeded the expectations of the club owners and myself,” said Walther. “I knew that going with a full HARMAN setup would eliminate guesswork and result in good synergy, but we couldn’t believe how good the system sounded right out of the box. The owners praised the equipment that was chosen for the club, as the clarity and detail were fantastic. The Crown amplifiers provided plenty of headroom at front of house and the monitors made the band very happy.”

“I was pleased with the performance and audio fidelity of the Si Expression 3, which were my main reasons for purchasing a Si Expression 2,” Walther added. “The Si Expression Series remains far better than anything else within this price range. The lower channel count of the Si Expression 2 is more than sufficient for most of our local festivals and events, whereas the Si Expression 3 is used for regional touring groups, when not in use at the Atomic Cowboy.”

Having cut his teeth on analog equipment, Walther is averse to the cluttered menus found on some of the digital consoles in today’s market. However, the Soundcraft Si Expression consoles are designed with an appreciation for common sense; features such as FaderGlow™, the illuminated and color-coded fader-strip, speed up workflow and improve efficiency of operation.

“This console translates so well from the analog world, because it is designed in a very logical fashion,” Walther stated. “With some digital mixers out there, I almost feel like I’m translating a foreign language when attempting a live mix. With the Si Expression, I don’t even have to look at my hands, thanks to FaderGlow and the intuitive layout. Also, the onboard effects and compressors eliminated the need for a 4-foot-tall effects rack, which saved me a lot of room in the truck.”

Walther has recently used the Si Expression 2 in events such as the annual Crawfish Boil in downtown, where Cajun food is accompanied by a healthy dose of local musical acts. The Si Expression 3 temporarily installed in the nightclub will enjoy more spectacles such as the upcoming Mound City Music Fest over the weekend.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Professional Performance Meets Affordability with HARMAN’s AKG Project Studio Microphone Line

AKG Perception P120

VIENNA, Austria – Building on almost 70 years of experience in developing world-class microphone technology, HARMAN’s AKG is adding five new models to its Project Studio line of microphones. The new models are designed for enthusiasts and professionals alike, meeting the needs of makeshift project studios as well as professional environments.

The Project Studio line was built on AKG’s heritage of technical excellence and was developed in collaboration with some of the audio industry’s top professionals. The new Project Studio microphones deliver historical premium AKG sound quality in a classically designed series. “As more and more manufacturers continue to enter the marketplace, it’s becoming increasingly difficult for end-users to identify the best microphones for their needs,” said Erich Gaertner, Product Line Manager, AKG. “Therefore, we chose to update the Project Studio line with professional-grade microphones at accessible prices, thereby making it easier for our customers to find the perfect microphone to meet their demands. Thanks to AKG’s depth of research and development resources, the new Project Studio line of microphones are both high-quality and affordable.”

The new additions to the Project Studio line include: the P120 general purpose recording microphone; the P170 general purpose instrument microphone; the P220 large-diaphragm true condenser microphone; the P420 large-diaphragm dual-capsule true condenser microphone; and the P820 dual-capsule tube microphone.

The P120 is a 2/3-inch diaphragm true condenser microphone that offers durability, outstanding performance and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail for vocals, speech and instrument recording in project studios and for home recording.

The P170 is a small-diaphragm condenser microphone for recording of overheads, percussions, acoustic guitars and other strings. Its lightweight half-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.

The P220 is a large-diaphragm true condenser microphone offering a warm and clear sound for lead vocals, acoustic guitar and brass instruments. A switchable bass-cut filter and attenuation pad make it perfectly suited for use on loud sound sources with sound pressure levels up to 155dB SPL. The rugged and roadworthy design also makes the P220 a perfect choice for on-stage applications. The P220 represents the most popular and successful microphone within the actual Project Studio Line. It comes complete with a spider-type shock mount in an aluminum carrying case.

The P420 is a multi-pattern large diaphragm true condenser microphone for demanding project studio recording applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound quality perfectly suited for ensemble recording, grand piano, woodwind and brass instruments, as well as drums and percussion. With three selectable polar patterns—cardioid, omnidirectional or figure 8—it is an ideal tool for stereo miking techniques and ambient recording.

The P820 Tube high-performance multi-pattern tube microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube delivers real tube sound and raises the bar in its class of affordable tube microphones.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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HARMAN Brands Unite To Power Up Dierks Bentley’s 2014 RISER TOUR

Photo Credit: Tim Duggan

GLENDALE, California — Country music star Dierks Bentley is currently out headlining his 2014 RISER TOUR through the fall with VER Tour Sound supplying the audio reinforcement system featuring HARMAN’s JBL VTX line arrays and Crown I-Tech HD amplifiers. In addition, Christie Lites is providing a full Martin rig for the dynamic lighting system, highlighted by MAC Quantum fixtures.

The audio system features a left-right hang of 16 JBL VTX V25 line array loudspeakers per side, with six VTX S28 subwoofers per side in cardioid configuration. For side fill, VER has supplied supplying eight V25 loudspeakers per side, along with six G28 ground-stacked subwoofers per side. Powering the V25 loudspeakers are Crown I-Tech 4×3500 HD amplifiers, with I-Tech 12000 HD amps powering the subwoofers.

“Dierks really combines country and rock together and this show is very much like a rock and roll production,” said Chance Stahlhut, Account Manager, Tour Sound, VER. “At the same time, he’s true to his musical roots and the country element comes through in his performances.”

FOH Engineer James “Pugsley” McDermott has been working with Bentley for approximately nine years, and on this tour is working with monitor engineer Scott Tatter, system engineer Kennith Sellars, and RF tech Ashley Zapar. “With Dierks, how it sounds on stage is exactly how he wants it to sound out in the audience,” McDermott said. “He knows his crowd and he wants it to be an energetic show. He’s spent a lot of time putting the show together and he keeps you on your toes as an engineer. He’s the kind of client you want: someone who will push you to be as good as you can be and will make sure you’re always on your game.”

In his approach to mixing Bentley’s shows, McDermott’s priority is finding the perfect balance. “I treat this as a true rock and roll setup,” he said. “I want to mix to my audience, so if the crowd is loud I want to be just as loud. I want the first downbeat of the very first song to knock people back, to be impactful and surprising. That way the people know they’re in for a high-energy show. The PA and console are my instruments in that regard.”

McDermott added that he has worked with JBL throughout his entire career. “I’ve seen their products evolve over several decades and I’ve spent the past five years working with every loudspeaker you can name,” he said. “I’ve never had issues with JBL because I always know what to expect. They’re workhorse products in this industry.”

McDermott first heard the VTX system two years ago and was impressed, to say the least. “I think it’s an accumulation of line array concepts and processing and drivers and design working together to get a good product,” he said. “It’s not too heavy, you can fly it in most places; you can hang more boxes compared to other speakers. I love the top end of it, I think it’s the most brilliant sounding speaker that JBL has developed.”

“The VTX is just a really great box, it’s very consistent and we’ve had great results with it,” Stahlhut said.

On the lighting side, Chris Reade, Lighting Designer for Dierks Bentley, uses Martin’s MAC 2000 Wash, MAC 700 Profile, MAC Viper Profile, MAC Aura and MAC Quantum, all provided by Rod “Red” Gibson of Christie Lites. The Lighting Crew Chief is Marc “Chainsaw” Wuchter and the Production Designer is Bruce Rodgers of Tribe, Inc.
Reade mentioned that he was impressed right away with the MAC Quantum after seeing it at the LDI trade show in November, and decided he wanted to make it the workhorse in his rig. “The Quantum has powerful looks that can be used in a dramatic fashion,” Reade continued. “This fantastic set and video design by Bruce Rogers has big rock and roll features, but also some subtle theatrical elements as well. It was fun to work together with Bruce, and together make the complete design with the Quantums in mind.”

“The Quantum light has a lot of effect possibilities and narrowing it down to get powerful, unique looks, without overdoing it was a challenge,” Reade said. “I believe effects are more powerful if they are not used over and over throughout a show.”

“The Quantum is a great pairing with the Viper because the output is amazing, and after I showed Reade the fixture at LDI, we immediately found a way to incorporate it into his design,” said Gibson. “Reade and the Dierks Bentley tour have been great, loyal clients. We work well together and I always try to provide him with the latest products. I gave him the Auras a couple years ago and then the Vipers last year, and I’m proud to say that he is now one of the first tours with the Quantums!”
Reade mentioned that the MAC Viper is a powerhouse, being extremely bright and very fast with great optics and color mixing; it’s his number one choice.
Reade also said he enjoys the MAC Auras as well and typically uses them in groups to add to the effect, while the MAC 700 Profile is used for front key lights to provide a great look. He also uses the standard MAC 2000 Wash for color wash and punchy stabs when they are zoomed in.

“The reactions have been amazing,” Reade added. “Everything came together really well between all the departments, it was a great collaborative effort. I think we’ve been able to create something powerful and unique, and I’m really proud to be a part of this. I think the Quantums get a great reaction from the audience when they go from being used as a wash light to then being used as an effect. It’s pretty cool and unexpected and to be able to quickly transform from one type to another is pretty incredible.”

“The support from Martin has been outstanding,” Gibson said. “Grif Palmer was a huge help in making sure we had the Quantums in time for the start of the tour, and we couldn’t be happier!”

Photo Credit: Tim Duggan

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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SSL Live Hits Summer Festivals with The Killers

“This console is the most analogue-correct digital console; it sounds phenomenal”

SAN FRANCISCO - Following The Killers’ wildly successful 2013 Battle Born world tour, performing in 50 countries and headlining arenas on six continents – including a sold-out Wembley Stadium show for which they wrote The Wembley Song – the Las Vegas-based phenomenon is back on the road this summer in support of their Direct Hits greatest hits compilation. With appearances at North American and U.K. music festivals, the band’s FOH engineer, Kenny Kaiser, is delivering their chart toppers with help from the new SSL Live console.

Kaiser works for Delicate Productions of Camarillo, California, serving as PA tech or system tech for Selena Gomez, Train and as monitor tech and crew chief for The Foo Fighters, among others. After moving to the Killers’ camp last year, he took over the helm for their 2014 tour. However, Kaiser was not fond of their previous FOH console and knew instantly that he’d need to make a switch.

“Delicate is a great partner of Hi-Tech Audio [supplier of the SSL Live console for the tour] in San Francisco, where I’m based,” he says. “Louis Adamo, president of Hi-Tech, called to say they had a new SSL console, so I went down and played with it. I found it fluid and the surface very intuitive. I also had a chance to take a class for engineers and production companies. After I took the class, I found the console even more intriguing. One thing that stuck in my mind was actually taking it apart and looking inside at how it’s made – it’s built like a tank. Plus, with the name SSL, you can’t go wrong; that’s a great name in consoles.”

As Kaiser is part of a new breed of engineers, The Killers’ previous mix platform just wasn’t his style. “There was too much button pushing to get to certain places and it was too spread out,” he continues. “There were fader banks on either side, so I had to do a lot of left and right movements. With Live, it’s more centralized. I don’t have to move around the console and I can stay in one spot, hit one button and quickly do what I need to do.”

Kaiser, who will occasionally use other consoles for events supported by Delicate, finds SSL Live to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks. “It’s very intuitive and user-friendly,” he adds. “There are a lot of options as to how you can set up SSL Live.”

The accuracy of the console also stood out to Kaiser. “Because my background is a system tech, I’m an audio measurement and phase dork,” he explains. “Some engineers might have an eight or 10 dB boost or cut on an EQ band and my thought, if you have to do that, is that something is wrong – either the wrong mic or the console isn’t doing what the engineer needs. I now find that certain things I used to do, I don’t have to do anymore because the EQ does what it says its doing. When you’re on the first band and you want a cut at 120 Hz, it actually does 120. Some consoles say they’re doing 120, but then when you actually plug it in and check, it’s not quite there. Sometimes the Q isn’t quite what it says; with this console, it’s precise.”

Another big hit was Live’s onboard effects. “Everything is built-in, the reverbs sound glorious and it’s all on board,” says Kaiser. “I don’t have to go out and buy a console and then say, ‘Okay, now I need some external piece of software or hardware to get what I want.’ Everything I need is right there in one box to make the sound how I need to make it, which makes my job easier.”

But it doesn’t just stop at the effects, the console’s all-pass filters were also a big selling point for Kaiser. “As a system tech, I use all-pass filters to align side hangs to the mains,” he explains. “Being able to have that on inputs to align a pair of kick or snare drum mics is a huge tool to get the phase just right.”

Kaiser also mentions the clarity and distinctness that each instrument has in his mix. “On other consoles, once you start adding more stuff, you hear them start to overload and hear the coherence start to go away, but not with the SSL Live. SSL definitely did their homework to make it sound as analogue as possible. This console is the most analogue-correct digital console I’ve ever encountered. It sounds phenomenal.”

The Killers recently headlined the Hangout Festival on the sandy beaches of Gulf Shores, Alabama where the console was put to the true test of the weather. Kaiser notes, “despite the heat, high humidity, wind and sandstorms that we encountered that weekend, the console was just great.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

3G Productions Deploys Martin Audio MLA At EDC Las Vegas


This year’s Electric Daisy Carnival in Las Vegas easily earned its reputation as the world’s largest electronic music festival with seven stages, carnival rides, art installations, fireworks displays and over 400,000 in attendance.

The landmark multimedia three-day event took place at the Las Vegas Motor Speedway and focused on providing a total entertainment experience for EDM fans with over 70 DJs performing each day.

3G Productions of Las Vegas/Los Angeles, who once again provided audio for the event, set up a fully loaded Martin Audio MLA loudspeaker system on Stage Two (Cosmic Meadow) to deliver the power and huge amount of low end required for the shows. DJs featured on the stage included Diplo, Justin Martin, A-Trak, Chromeo, Bassnectar, Dillon Francis and Destructo, just to name a few.

The system for Cosmic Meadow stage consisted of 16 MLA and 2 MLAD enclosures per side, 12 MLA Compact per side for sidefills and 3 MLA Compact per side for front fills. More than the required amount of low end was provided by 40 MLX subs stacked one on top of the other along the front of the stage. A Yamaha CL5 console was used for Front of House and a Yamaha PM5D for Monitors.

Asked about the MLA, 3G’s Keith Conrad said, “the system performance each night was fantastic and the Martin Audio stage blew everybody away. The client (insomniac) was happy with the way MLA performed, the show was packed every day and the DJs and their engineers were really impressed with the system.

“Because Cosmic Meadow stage was facing out towards the speedway and wasn’t competing with any other stage,” Keith adds, “we got the full impact and power of the system, which was amazing. As it turned out, we didn’t even need delay towers because the coverage was so exceptional. This was due in part because of Martin Audio’s Display 2.1 modeling software.

“What makes EDC unique from other music genre festivals is the incredible amount of bass that’s required for EDM. The MLX subs were so powerful, the artists and their crews were smiling from ear to ear as soon as they turned it on.

“Of course,” Keith concludes, “we were fortunate to have our secret weapon FOH engineer Manny Perez who is definitely a veteran with MLA and knows how to tweak the system so it sounds exactly right from the low to high frequencies, which made it an ideal situation for everyone. Overall, I’d say that the system exceeded expectations from every aspect.

For more about 3G Productions, Inc., please click to www.3glp.com.

For more about Martin Audio and MLA, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Stanton Joins SAE Beats & Breaks Battle

Company’s Renowned STR8.150s Used as Exclusive Turntables for Popular Competition

ATLANTA, JUNE 25, 2014 – This year’s SAE Beats & Breaks Battles contenders are all starting on an even playing field thanks to the event organizers’ latest decision to make Stanton’s STR8.150s the exclusive turntables for the competition. With four preliminary events in each of the four regional cities – Atlanta, New York, Chicago and Las Vegas – four regional finales and the final Battle Mania event in Atlanta on New Year’s Eve, having one standard tool for all contestants ensures that it’s their talents, and not their turntables, that are delivering the results and, ultimately, being judged.

“Having the DJ element in our battles is the most important part; it’s what sets us apart from all of the other competitions,” says Amir James, co-founder of MC WAR, which organizes the Beats & Breaks Battles. “In recent years, we’ve noticed a need for uniformity and ease for all of our battlers, so we went looking for a turntable that would not only give a consistent sound but would also be recognized. We chose the Stanton STR8.150s because we think they are the best turntables in the game; a quality product that everyone is familiar with. They definitely help us keep the DJ element in our battles, which is our primary concern.”

The availability of the turntables also means event organizers will have a smoother transition between competitors while the DJs won’t need to worry about lugging their gear with them. In addition to the Beats & Breaks and Battle Mania contests, MC WAR will also be using the STR8.150s for other events, such as the Hip Hop Day music festival, at which all of the regional winners will perform.

MC WAR was founded in 2002 under the notion that you either become a rap battler or you teach people to implement the style. “We decided that instead of having artists diss each other on records, they should have a way to professionally compete,” says James. “We started when nobody else around was organizing battle rap as a league, and then it just got hot to the tune of 1.5 billion video views directly related to the style. For a while, the method of battling without music became popular, but we always felt that real hip hop was two turntables and a mic. We pride ourselves on the fact that our competitors battle over the music. Having a set of go-to turntables ensures that we’ll always have a DJ set for our competitions.”

With the Beats & Breaks regional battles already underway in Las Vegas, New York, Chicago and Atlanta, hip hop fans are welcome to stop by to hear the latest up-and-coming artists. Additional information about the battles can be found here: www.mcwar.com/events. See below for a full schedule of events.

• July 7 at SAE Institute in Marietta, GA
• July 8 at 50 Yard Line in Atlanta
• July 14 at JC Studios in Jersey City
• July 17 at Sam Ash Music in New York
• July 28 at Sam Ash Music in Chicago
• Aug 4 in Atlanta – Venue TBA
• Aug 5 at 50 Yard Line in Atlanta
• Aug 11 at JC Studios
Aug 14 Chicago Finals at SAE Institute
• Aug 16 CHICAGO HIP HOP DAY FESTIVAL
• Aug 17 at SAE in Las Vegas
Aug 28 New York Finals at Gibson Guitar Showroom on 54th Street
• Aug 30 JERSEY CITY HIP HOP DAY FESTIVAL
• Sep 1 in Atlanta – Venue TBA
• Sep 2 at 50 Yard Line in Atlanta
• Sep 14 in Las Vegas – Venue TBA
• Sep 25 at SAE in Las Vegas
• Sep 27 & 28 ATLANTA HIP HOP DAY FESTIVAL
o (Includes Keith Murray vs. Fredro Starr at The Atrium on Sep 28)
• Sep 29 at SAE in Las Vegas
• Oct 13 in Las Vegas – Venue TBA
Oct 30 Las Vegas Finals – Venue TBA
• Nov 1 & 2 – LAS VEGAS HIP HOP DAY FESTIVAL
December 31 – New Year’s Eve NATIONAL FINALS at BATTLE MANIA in Atlanta

About Stanton
Stanton, part of the Gibson Pro Audio division, is an industry leader in the design and manufacture of professional audio products for DJs. Founded in 1946 by Walter O. Stanton, the inventor of an easily replaceable phonograph stylus, Stanton has grown from being one of the first American companies to make and sell magnetic cartridges to offering a complete line of DJ products, which include turntables, high-performance cartridges, CD players, DJ mixers, accessories and digital controllers. With over 50 years of innovation, Stanton is the name DJs trust. For additional information, visit the company online at www.stantondj.com.

About Gibson Brands
Gibson Brands Inc. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health, and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Brands Inc’s family of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer, Cakewalk and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com. Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

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