Archive of the News Category
— Featuring industry insiders and friends of A-T, these AMA sessions proved to be informative and revelatory for an audience of in-person AES convention attendees as well as a worldwide online audience —
STOW, OH, December 4, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, has made available online the “Ask Me Anything” (AMA) sessions the company recently hosted at the 135th AES Convention in New York, NY. Sessions took place on Friday, October 18, and Saturday, October 19, at A-T’s exhibition booth on the convention floor.
The archived sessions, available on www.audio-technica.com/aes2013, include discussions with Joel Singer, GRAMMY® Award-winning engineer/mixer, co-founder and chief engineer of Music Mix Mobile; Jackie Green, VP R&D/Engineering at Audio-Technica; Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer; Richie Castellano, musician and YouTube sensation; Richard Chycki, mixer, engineer and producer; Carl Tatz, TEC Award-nominated recording studio designer; Frank Wells, then-current President of AES; and Jimmy Douglass, GRAMMY® Award-winning recording engineer/record producer.
“Ask Me Anything” questions were submitted by individuals present at AES booth 2723, online at www.livestream.com, and by Twitter #ATliveAES – and then fed to the presenters through a moderator during the 30-minute Q&A sessions.
“We were extremely happy with the AMA sessions in the A-T booth at the AES show this year,” stated Gary Boss, Audio-Technica Marketing Director. “Not only was this a unique opportunity for both attendees at the show and those at home to ask insightful questions, but the content will be archived for a whole new audience to benefit from all of our presenters’ wisdom and insights. There were laughs, thought provoking answers and a few uncomfortable moments. Exactly the kind of scenario where we get to see the true genius behind our guests and understand why they are at the tops of their respective fields.”
Watch Audio-Technica “Ask Me Anything” sessions at www.audio-technica.com/aes2013.
Photo caption: Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.
Photo caption: Jackie Green, VP R&D/Engineering at Audio-Technica, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.
Photo caption: Jimmy Douglass, GRAMMY® Award-winning recording engineer and record producer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.
- Carbondale, Colorado’s Chante Pejuta MixRoom™ and Aspen’s Great Divide Dual 5.1 PhantomFocus™ System signal Colorado trend in demand for ultimate monitoring experience -
Nashville, TN: Multiple TEC Award-nominated studio designer Carl Tatz – principal of Carl Tatz Design LLC and creator of the revolutionary MixRoom™ concept, which pairs the Carl Tatz Signature Series™ acoustic modules by Auralex with the unrivaled accuracy of the PhantomFocus™ System (PFS™) monitor tuning protocol – has recently completed a beautiful new personal MixRoom (known as “Chante Pejuta”) for singer/songwriter Eaden Shantay. Located in Carbondale, Colorado, just outside of the legendary ski resort town of Aspen, Chante Pejuta is the latest example of how the MixRoom concept can transform a simple rectangular room into the new standard for audio monitoring environments.
“Carl’s experience and attention to detail were off the charts. His Signature Series acoustic modules by Auralex, including the Acoustic Lens™, were custom installed with great precision,” describes studio owner Eaden Shantay, who has just released his new album, Endless Sea. “It not only looks great but when sitting in the console chair inside of the PFS sweet spot, the sound is totally amazing. The audio on every track is vividly revealed within a three-dimensional soundscape, which greatly enhances recording, editing and mixing. I could not be more pleased with this creation. Carl, you knocked it out of the park.”
During the twenty-one-day Chante Pejuta MixRoom installation, Tatz also returned to Jamie Rosenberg’s Great Divide Recording Studios, Aspen, Colorado’s premier recording facility. Tatz was requested to bring the studio’s Dual PFS up to the latest PFS specs using the new implementation protocols for the two-channel ADAM S3X-H near-field system and the 5.1 soffited ATC SCM 150 mains system. “As amazing as the systems performed before,” commented Rosenberg, “They now sound like new speakers.”
“Having lived in Colorado for five years before moving to Nashville, I’m reminded of the ‘closer to God’ vibe you feel living over a mile above sea level,” recalls studio designer Carl Tatz. “We’re very grateful to continue to be recommended and hired to implement our studio designs and PhantomFocus Systems here in this wonderful area with strong interest for more in the future.”
Please click graphic below to view Audio-Technica Gov Comm 2013 Press Kit
“We are very proud and excited to join SSL in bringing the new Live platform to our clients and projects”
AMSTERDAM – Solid State Logic has appointed Pro Audio specialist Audio Electronics Mattijsen (AEM) as its Live console Distributor in The Netherlands. AEM has been serving the Dutch pro audio industry for over 30 years and is the latest addition to SSL’s Live console partner network.
“SSL Live is the high-end mixer solution for which we have been looking for years to complement our portfolio,” says Roland Mattijsen, applications specialist and AEM co-owner. “Being ambitious, innovative and able to exceed expectations is not an easy task for any manufacturer. With the Live console, SSL is offering its highly respected SuperAnalogue™ front-end, 64-bit FP DSP processing and high channel/bus counts at 96kHz throughout. With those specs, Live would attract the attention of top sound engineers and designers, even without the SSL badge. We are very proud and excited to join SSL in bringing the new Live platform to our clients and projects. With SSL’s history of providing leading mixing console designs, first in music recording and again in broadcast environments, the company is well suited to bring exciting new technology and superior audio quality to the live industry.”
“The Live console has already generated great interest from prospective customers, but they also require a sales support structure of the highest standard to help them at the local level,” says Tim Harrison, Area Sales Manager for Solid State Logic. “To fulfill these requirements, SSL needs experienced and highly reputable partners with well established contacts in the rental and install markets. We also wanted partners with a strong and proactive support team equal to our own. Audio Electronics Mattijsen fulfills all of these needs. We could not wish for a better partner in the Netherlands.”
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.
Northwest House of Worship Relies on Company’s d:fine™ Headset and d:vote™ Instrument Mics to Provide Natural Sound for its Main Campus
OLYMPIA, WA, DECEMBER 5, 2013 ? Evergreen Community Church has multiple campuses throughout Washington, but it is the house of worship’s main campus in Black Lake that hosts the largest Sunday Morning gatherings, with two services in their 1,500-seat auditorium. As more than half of the service is dedicated to the spoken word, Evergreen relies on the precision of DPA Microphones’ d:fine™ Single-Ear Omnidirectional Headset Microphones, d:fine 4066 Headset Microphones, d:vote™ 4099 Instrument Microphones and d:screet™ 4061 Miniature Microphones to project the clear, natural sound of the Pastor’s voice and the supporting instruments of the Evergreen Community Church worship band.
As one of the key FOH volunteers at the Church, Duke DeJong is responsible for everything from ensuring the clarity of Lead Pastor Jim Ladd’s spoken message to mixing the worship band. Also playing a dual role as Church Relations Director for CCI Solutions, an audio dealer specializing in HOW audio, DeJong was able to work with both groups to provide all of the gear necessary for the Black Lake Campus to have an ideal mic solution after the church upgraded its PA system. While providing excellent audio, the new speakers also highlighted the noise of the church’s former mic setup, prompting DeJong to turn to the always natural-sounding DPA Microphones for a solution.
“My number one requirement for any microphone is always going to be clarity and intelligibility, along with a reasonable cost factor as well,” says DeJong. “DPA is especially incredible for speech, orchestra and acoustical instruments, filling all the needs of a house of worship. We primarily use the d:fine as our go-to speaking mic, the d:vote for our grand piano and the d:screet for our stringed instruments, most often violin. The spoken word is over half the service, and the church has a long history of great orchestra instrumentation, so the audio quality has to be great.”
The clarity of spoken word at Evergreen Community Church is achieved through a combination of a d:fine™ Omnidirectional Headset Microphone and a d:fine 4066 Omnidirectional Headset Microphone. Aside from accurate audio, both models are extremely comfortable for extended use, an important factor Evergreen Church looks for in a headset mic for the Pastor.
“I have a personal d:fine that I use when I go to speak at conferences,” adds DeJong. “I forgot it for a recent conference I spoke at, and I had to use a competitor’s headset microphone. I ended up finally taking that off and not wearing a mic at all. The other mic just wouldn’t fit right on my ear or stay put once I got it situated. I also find that competitor mics may not hold up over a long duration. Durability, stability and comfort are critical if our pastor is going to be up there speaking for 30 minutes. I need him not to be fussing over the ear piece the entire time.”
To ensure full comfort, the d:fine is adjustable to any ear or head size and shape, and is easily customizable by swapping from dual-ear to single-ear modes. In addition to the d:fine, the main venue uses two d:votes with piano attachments and a d:screet for the violin to solve the church’s need for accurate instrumental audio.
“After we installed a new PA system, it also quickly became important to improve our instrumental microphones,” continues DeJong. “We tried many different microphones on the grand piano, and it just never sounded good. Once we set up the DPA d:vote 4099 Instrument Microphones on the grand piano, we were in love with the clarity and fullness of the sound. We then added the d:screet 4061 Miniature Microphone on our violin. The instrument sounded so beautiful and natural that it was like I was standing right next to it. I also love the versatility that DPA mics offer, so occasionally I borrow them from the instruments to serve other purposes as our needs at the church change from time to time.”
The d:vote 4099 Instrument Microphone is a unique, lightweight, microphone that has mounting options for almost all acoustic and woodwind instruments, solving the needs of the worship band’s musicians during service. The 4061 Omnidirectional Microphone is designed for theater, live and studio applications, boosting the natural sound of acoustic string instruments. Both the d:vote and d:screet are easy to modify to fit multiple needs.
“To say it simply, I’ve used DPA Microphones for almost a decade now because they are one of the clearest, most natural and best sounding microphones,” says DeJong.
Evergreen Community Church has two locations in Olympia, Washington in addition to the Black Lake campus. On Sunday nights, the church holds an outreach program at the Evergreen Community Center, combining music with discussions about challenges and faith.
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.
New Toft ATB 32-Channel Consoles at Center of Redesigns
Pictured at SAE Chicago with the Toft ATB 32-Channel console are (L-R) Vintage King's Jeff Leibovich and SAE's Bill Smith.
Vintage King Audio is working to expand the studio facilities for Audio Technology Program students at SAE Institute’s creative media arts colleges across the United States. After years of working with SAE, VK was recently called upon to implement a comprehensive upgrade of its recording studios with standardized 8-Bus configurations.
“We’re working on a number of projects with SAE, but the main one is getting the 8-Bus rooms together at SAE’s Miami, Nashville, and San Francisco schools,” says Jeff Leibovich, sales consultant at Vintage King, a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. “Ultimately, we’re aiming to equip SAE’s campuses in a similar fashion, which will ensure that all of SAE’s audio engineering students have access to the same kind of professional studio set-ups that they’ll encounter when they graduate and start working. This technical uniformity will also create consistency in training, and allow students to transfer between campuses seamlessly.”
“Working with Vintage King has been great,” says Bill Smith, SAE National Academic Director. “Because VK has such a broad reach in the industry, it ensures that the equipment we’re buying is truly reflective of what’s used professionally. It makes the learning experience so much better when the students get a taste of true quality in a real working environment. With our seven campuses around the country, having a strong partner that can provide immediate support is invaluable.”
Vintage King was involved in the building of SAE’s Chicago school at its earliest stages. They provided SAE’s newly opened Chicago campus with a Toft ATB 32 console and select outboard gear, including Daking 500 Series EQs and Mic Pres, Purple Action Compressor, SSL 611 Dynamics, and Phoenix Audio DRS-EQ500. A similar package was installed in Nashville and is slated for San Francisco. SAE’s Nashville, Atlanta, Los Angeles, and Miami campuses were equipped with the new Genelec M040 and M030 monitors. Both the Nashville and Miami campuses also received new outboard gear for their SSL rooms and a variety of new microphones from Neumann, Royer, Sennheiser, AKG, and others.
“The best part of working with SAE in Chicago was that I got to see the space go from a shell to the professional facility that it is today,” says Leibovich. “What’s impressive about SAE is that they’re not just teaching the science of audio to their students, they’re also teaching them the skills that they’ll need to become working engineers, producers, and entrepreneurs in today’s music and entertainment business.”
SAE Institute was established as The School of Audio Engineering (SAE) in October 1976 by engineer/producer Tom Misner, who in doing so developed the world’s first combined practical and theoretical curriculum in audio engineering. Their unique education system remains the only one of its kind in the world and has since expanded to offer programs in other curriculums such as film making, multimedia and other creative medias. SAE has campuses in Atlanta, Chicago, Los Angeles, Miami, Nashville, New York, and San Francisco, with over 50 campuses worldwide.
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals, from selecting a new microphone to designing a studio from the ground up, Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit http://www.vintageking.com/about-us
Acclaimed composer Boyd is using a RedNet 1 analog I/O and two RedNet PCIe cards on two separate computers to create a self-contained digital ecosystem
Los Angeles, CA, December 3, 2013 – RedNet, Focusrite’s acclaimed range of Dante-based Ethernet-networked studio interfaces has become the new and simplified signal transport infrastructure for film and television scoring composer John Jennings Boyd. Working from his Hollywood, California recording studio, Boyd (whose music can be heard in blockbusters like Smurfs 1, Smurfs 2, and Four Christmases as well as on the small screen in HBO’s How to Make It In America, Discovery’s Life, CBS’s 48 Hours, and dozens of shows across most major cable networks) is using a RedNet 1 A/D – D/A audio networking-capable interface to connect two computers, each running a RedNet PCIe card. Each PCIe card delivers up to 128 channels at 3ms roundtrip latency. Now, via a few standard Ethernet cables all connected together by a network switch, Boyd can sequence live music on Cubase from one of the computers and stream that audio directly to the second computer, which is running Pro Tools, over the network with virtually zero latency. What once required complex copper snakes or MADI cables, now has been simplified and made far more efficient.
“This future-proofs my workflow,” says Boyd. “I’ll be able to scale this signal path to any extent I need to, in any facility. It is incredibly convenient, to be able to have separate computers dedicated to sequencing and recording and never have to worry about latency or sync. I’ve never experienced a problem with RedNet, and the sound quality is excellent. RedNet has become my main converter. I’m using it to record guitars, solo instruments and vocals, and the conversion is totally transparent and lightning-fast.”
In fact, adds Boyd, it’s also provided an economic benefit: By allowing such high resolution audio on a basic Pro Tools 11 platform, Boyd isn’t required to upgrade to an HD3 system. “The quality of the sound is very close to what you’d experience from an HD rig at a fraction of the cost, and I can run video right from a Pro Tools session,” he says. “This is the acid test for film scoring workflow these days, and RedNet comes through with flying colors.”
At 48 feet tall with over 6,000 square feet of glass and a flagstone floor, the Thorncrown Chapel was “an acoustical nightmare” until the Bose® Panaray® MA12EX system came in to accomplish what no other sound system could
Framingham, Massachusetts, December 2, 2013 – There are challenging acoustical spaces, and then there are really, really challenging acoustical spaces. A contender for the top of that list is also near the top of another elite collection: the Thorncrown Chapel, in Eureka Springs, Arkansas, comes in fourth on the American Institute of Architecture’s top designs of the 20th century. It has 425 windows and over 6000 square feet of glass. However, the 48-foot-tall wooden structure, which has won numerous architectural awards and has been visited by over six million people since the chapel opened in 1980, has another, less salutary distinction: All that glass and other hard surfaces such as a flagstone floor have made for what AV systems designers rightly call “an acoustical nightmare.” The massive amounts of reflected sound make vocal intelligibility all but impossible. After numerous attempts to tame the space had failed, the Panaray® MA12EX system from Bose® Professional Systems, powered by the Bose PowerMatch® PM8500N amplifier, was brought in to address the problem. As a result, for the first time in the structure’s 33-year history, the problem was solved. And the Panaray system was able to conquer this acoustical challenge with the simplest of designs: just two columns of two MA12EX modules per side and a single PM8500N amplifier.
“Thorncrown Chapel is a very challenging acoustical environment,” says the chapel’s Pastor, Doug Reed. “Music sounds great anywhere in the building with just about any sound system, but the spoken word was our problem. By the time the sound got to the back of the chapel, people could not understand what was being said. We received complaints every Sunday from our visitors not being able to understand our minister. We went through three sound systems over the years trying to deal with the problem. Some worked better than others, but the complaints continued. We were beginning to believe there simply was no solution.”
Reed began to research the problem, educating himself about acoustics and different solutions. And one brand name kept recurring when it came to dealing with especially difficult reflective environments: Bose. “The Panaray MA12EX speakers seemed like they were exactly what we needed, so I called Bose directly,” he recalls, after getting indifferent responses from several other sound system manufacturers. “I was very impressed with how quickly they responded, and assured me they could help. Before long, Bose had field personnel surveying the site. They were excited about the building and the challenges it posed rather than afraid and uncertain like others we had dealt with in the past. I loved their confidence and enthusiasm, so I was sold.”
Bose brought the Tulsa, Oklahoma office of dealer and integrator FBP Systems, onto the project. “This a challenging project in many ways, and not just acoustically,” says Mark Labouff, National Sales Manager for FBP Systems. “This is also an architecturally and historically significant building, so a lot of care had to be taken in installing a sound system. The space’s architect had designed millwork to hide speakers when the building was first built. In order to maintain the historical integrity of the building, we needed a speaker system that would fit inside the original millwork, and the MA12EX modules were the right size; they are actually hidden behind grille cloth that spans the front of the millwork. In addition, because of where the millwork is located, the speakers had to be placed behind the pulpit microphones. That creates an enormous potential for feedback. But with the MA12EX loudspeakers, it was no problem. And the slim column enclosure blends with almost any décor, and that addressed the aesthetics. The MA12EX loudspeakers are resistant to feedback, and have such tight pattern control that I can’t imagine any other product could work in that space.”
Pastor Doug Reed realized he had finally found the solution that had eluded the chapel for so long. “When I first heard the system, I could hardly believe my ears. I could understand every word, even at the back of an empty chapel. We were thrilled, but the best testimony comes from the tens of thousands of people who have listened to the talks and sermons we give at Thorncrown – not one complaint about not being able to hear. That says it all. The folks at Bose had solved a problem that had plagued us for years, one we thought would never be solved. I think the word ‘happy’ would be an understatement.”
STOW, OH, November 27, 2013 — The new AT5040 Cardioid Condenser Studio Vocal Microphone from Audio-Technica, a leading innovator in transducer technology for over 50 years, has recently been used on a wide variety of projects from top producers and engineers in the industry.
GRAMMY® Award-winning producer, mixer and engineer Joe Chiccarelli (whose credits include The Strokes, The Killers, Jason Mraz and others) recently employed the AT5040 for vocals in the studio. “I used the AT5040 on the upcoming album for the Madden Brothers on Capitol Records. I was quite impressed with its clear and honest high end. The off-axis rejection is a smooth as any mic can be. It has a way of removing the control room glass in front of the sound – it has a really honest ‘right in the room’ type of sound. Very impressive.”
Multiple GRAMMY Award-winning engineer and producer Al Schmitt (Paul McCartney, Sam Cooke, Frank Sinatra and others), stated, “I recently used the AT5040 on vocals and was completely happy with the results. I also used it on a bass trombone solo and it sounded fantastic – the musician said it was the best his trombone ever sounded.”
David Reitzas, known for his work with Barbra Streisand, Madonna, and David Foster, states, “I used the AT5040 on a recent project for artist Pamela Lillard. I was blown away with how the AT5040 sounded! This is by far the best mic that Audio-Technica has ever made!”
Richard Chycki (Rush, Aerosmith, Needtobreathe, Our Lady Peace and others) has been a longtime fan of Audio-Technica microphones. He says, “I regularly use several models of Audio-Technica mics for their sound quality as well as their innovative design, consistency and reliability. For the new Dream Theater album, by pairing the right mic with the source, we captured some pretty amazing audio with a minimum of outboard trickery. For instance, the AT5040, with its amazing sensitivity and ultra-low noise floor, was an absolute joy to use, on acoustic guitar in particular.”
Multiple GRAMMY Award winner Frank Filipetti (Foreigner, James Taylor, Barbra Streisand, others) used the AT5040 to capture the full range of one of America’s most iconic music eras and sounds. Motown The Musical officially opened earlier this year at the Lunt-Fontanne Theatre and features timeless hit songs such as “What’s Going On,” “Ain’t Too Proud To Beg,” “Baby I Need Your Loving,” “My Girl,” “Dancing in the Street” and “I Heard It Through The Grapevine.” On the cast recording for Motown The Musical, Filipetti used the new AT5040 for the first time. “I placed it in the vocal booth with Brandon Victor Dixon, who plays Berry Gordy in the show, and it instantly sounded fantastic,” Filipetti recalls. “The vocals just came alive. When Bryan Terrell Clark, who plays Marvin Gaye in the show, heard it, he said he just had to sing through it, too. This was the greatest test you could put a vocal microphone through – in front of the best singers on Broadway – and the AT5040 held up to the high expectations of the users!”
For more information, please visit www.audio-technica.com.
Photo Caption 1: Pictured L-R: Mixer, engineer and producer Dave Reitzas and recording artist Pamela Lillard, pictured with Audio-Technica’s AT5040 Cardioid Condenser Studio Vocal Microphone, which they used for a recent recording session.
Machel Montano, King of Soca
Drummer Boy Sound Productions recently used different configurations of its Martin Audio W8LM system for a series of concerts by Machel Montano, the world’s leading exponent of Soca, at the Miami Carnival celebration.
According to Drummer Boy Sound CEO Harold Cummings, promoter David Fredericks of Islands United approached his company to handle full production––backline, sound, staging and lighting––for the first time. “David decided to give us a try and when we came in with the smaller Martin Audio W8LMs,” Harold recalls, “he didn’t think the boxes were big enough. They’d used a production company with larger format loudspeakers last time out, and he was totally blown away when he heard the W8LMs. Not just the coverage and volume, but the sound quality and control as well.”
The Miami Festival event consisted of three concerts in totally different venues, necessitating specific setups for each. Day one was a special “Girl Power” concert targeted for women at the Miami Airport Convention Center. A smaller site with ceilings only 14 ft. high, the theater presented several challenges. “Because the ceilings were so low, we couldn’t fly the full rig,” says Harold, “but we still needed to cover a 3,000 person space and throw 200 feet, so we flew five W8LMs and four WS218X subs per side and it was more than enough sound for the room. Even with the short ceilings and below average room acoustics, the speakers sounded great.
“The second night was called ‘Fantastic Fog Friday’ based on Machel’s hit single ‘Fog’ at the Broward County Convention Center, which has 26’ foot ceilings so there was more space to play with. We used a bunch of hazers and CO2 jets to create some deep low lying fog and haze, with seven boxes a side, 10 subs and our client was extremely happy that we could get a much bigger sound without losing any clarity and coherence.”
“Rave,” held in the East parking lot of Miami’s Sunlife Stadium, was the biggest show and crown jewel of the weeklong Carnival. As Harold describes it, “The Carnival actually lasted a whole week with parties going on all over town and this concert is where everything really came together. It drew over 10,000 people, had several opening acts like the Caribbean fusion band Karma, and the headliner Montano played a two-hour set of his hit songs.
“Because it what the largest space of the three nights, we used eight W8LMs and one W8LMD (downfill) per side, two W8LMDs on the stage deck for front fill, 16 WS218X subs, Martin Audio H3+s and WMX subs for side fills, 12 LE1200 and one LE1500 stage monitors plus MA 3.0 and 9.6K amplifiers—the full Martin Audio complement!
“In terms of other gear, the FOH console was an Allen & Heath iLive T112 digital with a iDR64 rack, monitor console was a Yamaha M7CL-48 digital, processing was Ashly Protea, and the mics were all Shure. Our crew included me as FOH and System Tech, Gerald Thomas (monitors) and Matt Psarsky (stage and backline tech).”
Asked about the client and band engineer’s reaction to the system, Harold concludes, “Ryan Lynton, Montano’s production manager and FOH engineer had never used Martin Audio before and he loved it. He wasn’t sure it was going to be enough for that large a crowd, but when I fired up the W8LMs, he gave me a big smile and said ‘Wow, I didn’t know it was going to be so loud and sound this great outdoors. He said that he’d be adding it to the rider for every show going forward.
“The client Island United was more than happy and said it was the best sound and production he’d ever had doing the Rave and added that we were already hired for next year!”
For more about Drummer Boy Sound Productions, click to www.drummerboysound.com
For more about Martin Audio, 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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