Gathering Timely Data: Measuring System Response in A Drive-In Concert Scenario

THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS NOVEMBER 2020 | PROSOUNDWEB.
COM
GATHERING A DETAILED LOOK INTO HOW TO AVOID POOR EQ

CHOICES
TIMELY DATA
INSIDE
MEMORIES OF SERVING AS A MIX ENGINEER FOR

VAN HALEN
Measuring system response in a ADVICE FOR GUITARISTS FROM THE OTHER SIDE
drive-in concert scenario. OF THE BOARD
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In This Issue NOVEMBER 2020 | VOL. 29, NO. 11
33 FEATURES
14 GATHERING TIMELY DATA Measuring system
response in a drive-in concert scenario.
BY MICHAEL LAWRENCE
20 THE RIGHT CALL A detailed look into how to avoid
poor equalization choices. BY MERLIJN VAN VEEN
33 THE BEAT GOES ON Pressing forward with new appli-
cations despite the conditions. BY LIVE SOUND STAFF
DEPARTMENTS
4 RESOURCES Services, educational opportunities as
well as some really positive things going on in the pro
audio community at the present time.
6 18 BY LIVE SOUND STAFF

6 TALKIN’ YAK “…and then one day I’m the FOH engi-
neer for Van Halen!” BY JIM YAKABUSKI
10 REALITY CHECK Some helpful advice for guitarists
from the other side of the board. BY ALEŠ ŠTEFANČIČ
18 BUSINESS MATTERS Failure makes you better – just
ask Elon Musk! BY PETER JANIS
31 PROJECT MEMO The Bearsville Theater in Woodstock,
NY equipped with a new system. BY LIVE SOUND STAFF
EQUIPMENT
28 FIRST LOOK Inside the new d&b audiotechnik 44S
compact loudspeaker. BY LIVE SOUND STAFF
29 MICROFILES The story behind the Calrad DM-17, a
classic vintage 1960s microphone. BY CRAIG LEERMAN
42 ROAD TEST Checking out the recently released Au-
dix A150 studio reference headphones.
BY MICHAEL LAWRENCE
43 REAL WORLD GEAR Developments in 2-way loud-
speakers and a look at recent models.
BY LIVE SOUND STAFF
50 LOADING DOCK New wireless gear, portable PA sys-
tems, loudspeakers, microphones, software upgrades,
31 in-ear monitors and more. BY LIVE SOUND STAFF
Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 11, is published monthly by
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53 NEWS
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www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 1

From the Editor’s Desk
One of the things I enjoy so much NOVEMBER 2020 | VOL. 29, NO. 11
about professional audio is the “true Live Sound International
geek” nature (and proud of it) of a 20 Speen Street, Suite 403, Framingham, MA 01701
good many practitioners (and design- 800.375.8015 | www.livesoundint.com
ers, integrators, product developers,
and…). So if you’re one who’s “geek PUBLISHER Kevin McPherson, kmcpherson@ehpub.com
inclined,” this is the issue for you. EDITOR-IN-CHIEF Keith Clark, kclark@livesoundint.com
Tech editor Michael L awrence SENIOR CONTRIBUTING EDITOR Craig Leerman
weighs in with a really interesting cleerman@livesoundint.com
piece – with the advent of drive-in TECHNICAL EDITOR Michael Lawrence
concerts supported by a PA, he and michael@precisionaudioservices.com
some colleagues were curious: what effect does being located TECHNICAL CONSULTANT Pat Brown, pbrown@synaudcon.com
inside a vehicle have on the listening experience? And in true CONTRIBUTING FEATURES EDITOR Phil Garfinkel
phil.garfinkel@gmail.com
geek fashion, they did far more than talk about it – they flew
PRODUCTION DESIGNER Samuel Clark, sclark@ehpub.com
a system, got some vehicles together, and measured it. Enjoy
CONTRIBUTORS Aleš Štefančič, Peter Janis, Jim Yakabuski,
their findings.
Merlijn van Veen
Not to be outdone on the geek scale, Merlijn van Veen goes for
a deep dive on this interesting question: “Is the signal-to-audience ProSoundWeb.com
ratio, i.e., sound system loudness with respect to audience noise, EDITOR-IN-CHIEF Keith Clark, kclark@prosoundweb.com
expected to change the transfer function during a live concert?” PRODUCT SPECIALIST Craig Leerman,
He endeavors to find out. cleerman@prosoundweb.com
For some lighter (and truly fun) reading, be sure to check out WEBMASTER Samuel Clark, sclark@ehpub.com
Jim Yakabuski’s reminiscence of working with Van Halen in the
1990s. It stems from the recent passing of Edward (Eddie) Van ASSOCIATE PUBLISHER Jeffrey Turner
Halen, one of the giants of rock ‘n’ roll guitar, and Jim really jturner@livesoundint.com | 415.455.8301 | Fax: 801.640.1731
brings home a wonderful time in our industry in talking about ASSOCIATE PUBLISHER ONLINE Mark Shemet
the impact the experience had on his life and career. Note: come mshemet@prosoundweb.com | 603.748.4067 | Fax: 603.532.5855
PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
for the words, but stay for the photos… And it’s truly my sincerest
jlitchfield@ehpub.com | 508.663.1500 x226
hope that once the current troubles are behind us that we get to
experience another “golden era” – particularly the younger folks Circulation and Customer Service inquiries should be made to:
who didn’t get the chance to partake in that earlier period of time. Live Sound Customer Service
And as always, there’s plenty more. Enjoy the issue. EH MEDIA, LLC
Phone: 978-671-0449
Fax: 978-671-0460
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Keith Clark 20 Speen Street, Suite 403
Editor In Chief, Live Sound International/ProSoundWeb Framingham, MA 01701
kclark@livesoundint.com
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ehpub@wrightsmedia.com | 877.652.5295
On The Cover Flying a rig in upstate
New York and then measuring it
in a number of scenarios to find
out what’s happening with system
response at drive-in concerts.
Coverage begins on page 14. ProSoundWeb
(Photo credit: Michael Lawrence)
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Resources THE LATEST NEWS FROM PROSOUNDWEB.COM
This section offers information in light of the ongoing situation with

the pandemic as well as some (but certainly not all) really positive
things going on in the pro audio community at the present time. All
of these opportunities and further details can be accessed via the
ProSoundWeb home page – prosoundweb.com – as well as via
the specific URLs with many of the items.
Sweetwater has announced

the continuation of its part-
nership with Little Kids
Rock, a national nonprofit
devoted to transforming
lives through music educa-
tion, with a pledge to donate
$500,000 over five years
to help the organization
accomplish its mission. The The ProSoundWeb Signal to Noise podcast celebrated an
partnership will also include important milestone tin October as it surpassed 100,000 down-
the development of a unique loads. The show, hosted by PSW-LSI technical editor Michael
portal that provides Little Lawrence and pro audio veterans Kyle Chirnside and Chris
Kids Rock teachers and parents of more than 550,000 participat- Leonard – and sponsored by Audix microphones – focuses on
ing students with access to discounted pricing on instruments. engaging conversations with professionals from all corners
Additionally, a portion of the funds will be used to invest in of the audio industry.Over the course of 70-plus episodes,
the Fort Wayne (Indiana) Community Schools District’s Little the hosts have welcomed a wide range of knowledgeable and
Kids Rock program, including teacher and student performance talented guests, including:
events. Mix engineers Jim Yakabuski, Ken “Pooch” Van Druten,
The Sweetwater and Little Kids Rock partnership was born Michelle Sabolchick Pettinato, Robert Scovill, Dave Rat, Chris
three years ago and has since helped bring music to more than Rabold, Chris Mitchell, Drew Thornton, Jason Moore, Howard
one million students and build music programs in public schools Page, David Morgan, Ryan John, and Pavan Grewall; Sound
across the U.S. In support of this goal, Sweetwater is the official system measurement and optimization gurus Jamie Anderson,
distributor of instruments and equipment to Little Kids Rock Chris Tsanjoures and Merlijn Van Veen; NASA audio engineer
programs across the U.S. and provides annual funding via its Alexandria Perryman; Electronic musician Deadmau5; Theatrical
corporate philanthropy and customer donation program totaling sound designers Jason Crystal, Elisheba Ittoop and Shannon
over $675,000 since 2016 and resulting in over $1.2 million Slaton; Film production sound powerhouse Tod Maitland; top
worth of musical instruments placed directly into classrooms sports broadcast mixer Andrew Stoakley; and over 50 more
every year. incredible guests too numerous to list.
Access all Signal to Noise episodes at the podcast’s home on
Celestion has announced the new book “High-Quality Horn PSW – prosoundweb.com/podcasts/signal-to-noise – and visit
Loudspeaker Systems,” authored by the company’s Bjørn Kol- the community via the show’s Facebook Group.
brek and Thomas Dunker, which is available at Parts Express
(parts-express.com) in the U.S. as well as from Celestion’s U.K. Sennheiser and Audinate have issued a new guide focusing on
distributor Lean Business Audio (lean-business.co.uk). The text practices for meetings and learning in a world with Covid-19. The
is a detailed volume of more than 1,000 pages addressing the guide takes a look at the situation for companies and education
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ing original research by the authors, both native Norwegians. social distancing. It discusses both the technical prerequisites
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Engineering Society convention in New York, they co-presented guide via audinate.com.
a session about the origins of compression drivers. Kolbrek’s
father, Reidar Kolbrek, created the illustrations for the book. As a result of the “New Abnormal” we’ve been living through
Go to hornspeakersystems.info to view the table of contents since March, health and safety is more in the spotlight than ever
and read a personal statement from the authors. before, which will be the focus of the Event Safety Summit,
4 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

an online event that begins this offering assistance that’s available to all entertainment touring
coming December 7. Presented by and venue crew members who make 50 percent or more of their
the Event Safety Alliance (ESA), income from work in live production. Crew members are all
the program will offer more than the front of house and backstage staff that help bring concerts
two dozen sessions (including LSI to life. Applications are currently not being taken but
technical editor Michael Lawrence be sure to regularly check for updates at livenationen-
presenting a session on SPL and tertainment.com/crewnation. (You can also donate to the
sound exposure), live Q&A with program at the same link.)
presenters, virtual networking
opportunities, an exhibitor area, and more. All sessions will Music, Pro Audio & AV Industry Relief Resources is a
be accessible for 30 days after the event so attendees can catch public Facebook group dedicated to networking between indus-
up on the action at a time that is right for you. Registration for try professionals whose
this five-day virtual event is $99 for ESA members, $125 for livelihoods have been
non-members. Members will also receive year-round access to impacted by the wide-
the Summit content and an exclusive discounted rate for the spread cancellations of
(hopefully live and in-person) 2021 Event Safety Summit. To tours, productions, and
find out more and register, go to eventsafetyalliance.org. the resulting layoffs
While there, check out the Event Safety Alliance Reopening throughout the profes-
Guide, a free download addressing health and sanitary issues sional audio and video
that event and venue professionals need to consider in order community. Again, it’s easily accessible via Facebook. LSI
to protect both patrons and workers in light of the pandemic.
ProSoundWeb provides all of the latest pro audio news,
Crew Nation, created by Live Nation to provide financial and follow PSW on Facebook and Twitter – just go to
support of production personnel impacted by the pandemic, is prosoundweb.com and click on the icons at the top of the page.

Talkin’ Yak
IN MEMORIAM: EDWARD VAN HALEN
(JANUARY 26, 1955 — OCTOBER 6, 2020)
“...and then one day I’m
the FOH engineer for Van
Halen!” by Jim Yakabuski
I
n early October, rock ‘n’ roll – and really the entire music
world – lost one of its most beloved and influential
artists: Edward (“Eddie”) Van Halen. I was instantly
crushed by the news when my wife told me. Almost immedi-
PHOTO CREDIT: BY CARL LENDER - FLICKR: EDDIE VAN HALEN, CC BY 2.0

ately, many of my friends and colleagues who knew that I’d
spent most of the 1990s as a mix engineer for Van Halen (the
band) reached out with a kind word. That helped a lot, but we
couldn’t believe he was gone. It just couldn’t be.
The production crew and the band had a very close working
relationship during those four tours in the 90s, and a nice
friendship as well, but I won’t pretend that Eddie and I stayed
close after my time mixing the band finished following the 1998
Van Halen III tour. I don’t want to write something that may
feel insincere, so instead I’ll focus my thoughts and words on
the amazing period of time I got to mix this legendary band.
It all started in 1991…
HITTING THE BIG TIME

I was on a roll. After years of being a system tech, I’d finally
been asked to be a mix engineer for a touring concert band –
and it was Aerosmith! Monitor engineer on the “Pump” tour,
to be specific. After that, almost like magic, another monitor Eddie Van Halen performing in the late 1970s with his “Frankenstrat.”
engineer position was offered with Poison.
There were good and bad nights on that latter one, for sure,
but I had another successful run. The best part of being in that We all know what I’m talking about – Massive and “Brown.”
camp was getting to know Scotty Ross, who was the tour man- I spent my early years in Western Canada mixing bar bands
ager on the “Flesh and Blood” tour. We got along really well. and every one of them played a handful of Van Halen songs.
When the tour was wrapping up, he whispered that he’d just Every rock guitarist on the planet tried to play like Eddie. Some
received an offer to manage the tour for another huge band, were better than others, but when he played the first note in
and he wanted to bring me in for monitors. that rehearsal room it was apparent who was the creator and
I was all for it, even though he couldn’t say who it was at who were the imitators. His skill was enormous! I couldn’t
the time. Soon enough, my phone rang and Scotty asked if believe I was standing 10 feet away from him.
I would like to be the monitor engineer for Van Halen. Are On the third day with the group, a couple of hours after they’d
you kidding?! left for the evening, the phone rang in our rehearsal room at
I was introduced to the band on the first day of rehearsals – The Power Plant in North Hollywood. I was the only one there
Alex and Eddie Van Halen, Sammy Hagar and Michael Anthony. so I picked it up.
It was surreal. Everyone was very nice. The thing I remember It was Eddie. He asked if I knew any good front of house engi-
most of all about that day was Eddie’s guitar tech, Matty, neers because the previous engineer had just called to say he wasn’t
handing him a guitar and firing up the amps. Eddie rolled the going to do the tour. I quickly replied, “Sure… me!” He laughed,
volume knob up and the room was filled with “that” sound. and a little confused, said, “But I thought you were a monitor guy.”

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TALKIN’ YAK
I countered that I was indeed, but my heart was truly in mix-

ing front of house and I’d love a crack at the gig. As it turned
out, Sammy Hagar was quite happy with me in the monitor seat,
so it just wasn’t my time. Instead, my soon-to-be-great friend
Jon Ostrin got the gig and he did a wonderful job.
A FORTUITOUS TWIST
That 1991 tour was in support of the album “For Unlawful
Carnal Knowledge,” and it was an amazing run. The band and
crew were a huge family. There were a lot of laughs and great
respect and love in the camp.
It was so fantastic to be a part of that experience that we
nicknamed it “The Camelot Tour,” and in fact, we were recently
asked by the creators of “Live From Nowhere” (livefromnowhere.
The author at the monitor board in his first tour with the band.
org) to do a virtual crew meeting, and the conversation turned
Regarding the hair – well, you had to be there…
out really great. Check it out if you want to see (and hear) more.
The tour wrapped and we all went our separate ways. The
band planned to spend several months mixing a live recording
from that tour, and “Live: Right Here, Right Now” was released
in late February of 1993. There were no initial plans of touring
that summer, but the album was doing well and the song “Right
Now” was blowing up (with some help from a Pepsi commercial).
Promoters were scrambling to try to get VH back out on the
road that summer.
As it turned out, Jon was only available to mix FOH for the
first several shows of the tour and then would need to leave.
When he told me (and with his blessing), I held my breath, said
a prayer and called Eddie at his house to formally petition for
the job after Jon departed. He paused, then said he’d have to
discuss it with the rest of the band.
For a few agonizing days I waited for an answer. When I
heard back from him, he said they’d give me a few shows on Front of house engineer Jon Ostrin and Jim Yak prior to a show.
a “trial basis” and see how it went. I was ecstatic and couldn’t
wait for my shot. a peek over my shoulder at the mass of humanity behind me
We started in Europe, and for the seventh show of the tour, climbing the ski hill as far as the eye could see. There were a
in early April in Stockholm, Sweden at the Globen (Stockholm lot of people there! I had a moment of clarity and awe that I
Globe Arena), I got to stand at FOH and feel what it was like to was actually mixing one of the greatest rock bands of all time.
mix this incredible band. I was certainly nervous, but the good It was a feeling I’ve never forgotten, and I count my blessing
kind of nervous, and I think it went pretty well. daily that I was given the opportunity by the band to do that.
My friend Jon hung around for a few shows and gave me some
pointers and reported back to the band. Not a fun task if you’ve ON A ROLL
ever been in that position, but he’s a consummate professional At this point I’d like to mention a few career nuggets that came
and he eventually handed me the keys and left our family with about from being given this honor and having it for many years
much love and respect from the entire band and crew. to come: After the VH tour was over, I heard from a friend
We wrapped up the European leg of the tour in late April in that the band Extreme was looking for a FOH engineer for an
London at Wembley Arena, then enjoyed a nice break before upcoming tour.
resuming in the U.S. in late June at Pine Knob, outside of I inquired and was asked to submit a “mix tape” – collection
Detroit. I have a distinct and fond memory of something that of recorded mixes from shows and bands I’d done recently. I
happened shortly after. We were at Alpine Valley, an amazing ended up just sending them my favorite sounding board tape
ski hill amphitheater in East Troy, WI, and the show was in full from a 1993 VH show. I honestly didn’t have a lot of other band
swing. I was quite comfortable by that point, but the reality recordings that I liked as much. I got a call almost immediately
that I was in this position was never lost on me. and was hired. All they needed to hear was that I’d mixed Van
Something about that night hit me in a big way. At one point, Halen. They loved them, and after listening to the tape, I got
the audience lights came up and they roared on cue. I snuck the gig.

During the 1995 VH “Balance” tour, in mid-September I was
thrilled and proud to mix FOH for the first time in my home-
town of Vancouver, BC. Friends and family were there, and it
was absolutely a career moment. I thought about all the bars
and clubs where I’d mixed in that area from 1981 to 1985, and
now I was in the arena. (So cool!)
I’ve always been a huge golf enthusiast, and Eddie and I
played together a time or two. He even gave me a set of King
Cobra golf clubs because I left mine at home at the start of a
tour. Several PGA professionals would visit our shows and we
got to play some great golf courses in exchange.
John Cook was a regular, as was Mark O’Meara. Mark used to
hang around with a pretty famous golfer named Tiger Woods,
and finally they both came to see a show together in July 1998
in Atlanta. When they arrived backstage, Mark asked me if the
band was there yet, and since they weren’t, we asked them if
they’d like to hang out on our crew bus while they waited. My
family was visiting that day too, so we all just chilled out with
The Van Halen production team in Cabo San Lucas for the 2nd
Mark and Tiger on our bus. (What a blessed life!) anniversary of the original Cabo Wabo Cantina.
They came out to FOH for sound check, and Tiger stood beside
me while I mixed, and asked me to explain the console and what
all the faders and buttons did. I just stood there incredulous
thinking, “I’m teaching audio to Tiger Woods!”
END OF AN ERA
When the 1998 tour came to an end, I wasn’t sure when the next
tour would be, but I certainly didn’t ever think it was the end of the
road for me. However, I never went back to work with the band.
I’m not sure if it was just bad timing and other opportunities,
but I didn’t have the opportunity to mix another Van Halen
show. I dropped by the arena in Orlando many years later when
they were playing in my new hometown. I still had some friends
out on the tour and it was nice to visit. I got to say hello to Eddie
for a few minutes, and Alex and I had quite a nice chat, but it
was definitely different. The “Camelot” years had passed, and
it felt like the end of an era. The now FOH engineer flanked by pro golfers Tiger Woods (left)
I still stay in touch with my friends from the various VH and Mark O’Meara.
crews, and the first texts to hit me to let me know Eddie had
passed were mostly from them. It was a very sad day for us all.
I’m grateful for the time I had in the presence of greatness,
and for the hugs and kisses – on the lips – daily from one of the
greatest guitar players of all time. Don’t ask… it was just his
way of saying, “Good to see you.” Rest in peace, Eddie. I miss
you and I miss hearing you play. You are loved by so many. LSI
Jim Yakabuski has spent more than 35 years as a live sound engi-
neer, working with artists such as Van Halen, Journey, Avril Lavi-
gne, Peter Frampton, and many others. He’s also launched The MIX
Institute, an audio school focused on helping
students become better live music mixers,
and is the author of “Professional Sound
Reinforcement Techniques,” which provides
a collection of tips and techniques for mix
engineers. It’s available via Amazon. Again, you had to be there…

Reality Check
ATTENTION GUITARISTS
Some helpful faithfully translated through the PA sys-
tem. With that in mind, here are some
you’ve done some careful level matching,
always double check your work in context
advice from the things you can do to make that happen of the performance. An effective way of
other side of the

with more transparency and with less doing this is by recording rehearsals and
stress. listening for anything that might disap-
board.
pear or pop out – multitrack recordings
PART OF THE WHOLE and virtual sound checks are the best
First, match sound levels very carefully. option, but even a cell phone recording
by Aleš Štefančič In the era of presets and stompboxes can reveal anomalies that you might not
and modeling technology, the number have heard on your own.
G
etting the right guitar tone is of sounds a guitar player can make in one Second, please keep in mind that your
very tricky. The quest for the set is mind-blowing. Even when working sound doesn’t end with the amp. Unless
exact combination of guitars, with your own sound engineer, you still it’s a small club without reinforcement,
pedals, amps, mics, tubes, strings, picks, must be very careful when setting lev- the sound is coming through the loud-
pickups is the holy grail for most gui- els for each preset. The goal is to have speakers and wow, can it differ from what
tar players. On top of that there’s the seamless transitions between sections you are used to if listening to just the
necessity of finding the right relationship and punch through the mix in just the amp. Microphone selection and position-
between the level of the amp, input gain, right places, instead of disappearing in ing are key in getting the right sound, but
EQ settings – it’s a juggling act before the choruses and blasting everyone’s head the rest of the signal chain can add even
that first note is even hit. off with blaringly loud solo patches. more noticeable difference.
Guitarists: I’m fully aware that you Those level settings are not only I’ve had a fair share of guitar play-
want to have that “special tone” that’s dependent on your own levels, but on ers listen to the solo guitar sound and
in your head and coming from your amp the arrangement of the song, so even if complain that it’s different than what

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REALITY CHECK
they’re hearing on stage. Let me share audience while requesting its sound be
a little secret: it’s supposed to be. While boosted in your monitors instead. It
guitarists are concerned with getting might differ from the amp sound, but
the fullest sound from their own rig, you can get a bit more control in certain
I’m concerned with shaping that sound scenarios. It’s also worth experimenting
in the context of the mix. This usually with power soaks, iso boxes and guitar
means shaving off the frequencies that modelers – they can also be solutions for
might compete with other elements of managing levels on stage.
the mix and create unpleasant notes
when being reinforced. LOST IN SPACE
So, if you’re listening to your channel Finally, I want to touch upon the use of
during a virtual sound check, listen to it spatial effects. Guitar sounds can be quite
in the full context of the song, not just dull without reverbs and delays, and players
the context of “the sound in your head.” experiment with their spatial positioning
Depending on how busy the mix is, you all the time. The only caveat is that if you
might have to concede to some sonic dis- set a space that’s quite different from the
parities for the benefit of the big picture. tone of the song, it might be hard to place
that tone in the context of the entire mix.
THE VALUE OF EXPERIENCE Even more problematic, overloading
One notable difference between guitar- the sound with reverb will push it back
ists who are “road tested” and those who in the mix and no knob on my console
may not be so well versed (at least yet) is can bring you back from the depths of
the way they manage their stage levels. “the pit of early reflections,” making
Experienced players usually know that it impossible to make the sound more
they need to get their tone without com- punchy or present.
promising other band members sharing My advice is finding a reasonable level
the stage. that feels right and then dialing it back
There are several ways to do this. The just one notch to accommodate for what
obvious one is turning down the volume happens during sound reinforcement. Also
level. But that’s not always an option. I’m talk with the mix engineer and get their
conscious of the fact that guitar tones opinion. They might suggest changing
are very dependent on the input gain the type of reverb or some minor setting
and output volume of the amp, and the adjustment that doesn’t affect the guitar
speakers in the cabinet speakers provide sound greatly while helping it match more
different saturation with high levels. That closely to what the mix needs to become
said, finding the lowest possible denom- an impactful, cohesive piece of art.
inator of levels can be of great benefit to And as always, keep an open dialog
the overall mix and show. with engineers. Ask questions about your
If, however, levels are high because of sound, the mix, how it all fits together –
monitoring issues, here’s something to anything relevant that comes to mind.
try: direct the sound of the guitar cabinet That way you can gather valuable infor-
directly at your ears and away from the mation and then decide what can be
audience. This may mean locating the amp implemented into your sound, playing
on the side of the stage, raised, or tilted, style, and anything else that might make
so that the center of it (the speakers) is you better at your craft. LSI
aimed directly at your head. This can also
provide much better control over the tone Aleš Štefančič has served for more than 20
as well since you’re hearing the entire fre- years as a front of house/monitor engineer
quency content, instead of the significant in addition to being a technical director and
high-frequency cut that happens if the mix engineer for the band Siddharta. Based
amp is right behind you, on the floor of in Slovenia, Europe, he’s also a musician and
the stage and aimed at your knees. project studio owner. Go to gainmedialab.
Another approach to try is aiming com for more of his articles and a roster of
the amp away from the stage and the upcoming online courses.

Feature
GATHERING TIMELY DATA

Measuring
system response
in a drive-in
concert scenario.
by Michael Lawrence
R
ather than deal with the legal
and logistical challenges of
short-range FM transmission,
many drive-in concert events in the U.S.
are simply opting to fly PA. My friend and
touring mix engineer Fletcher McDer-
mott recently reached out to me as he
was preparing to mix a drive-in concert,
wondering if I was aware of any data per-
taining to tuning a PA for folks listening
from inside their cars. I replied that I
hadn’t seen anything, but it seemed easy
enough to measure.
The basic question is a simple one:
When audience members are seated
inside their vehicles listening to the PA,
what effect does this have on the listening
experience?
I decided to set up a “mock” drive-in
concert – fly a PA and measure it as I usu-
ally would, then bring in some vehicles
and measure the system’s response from
inside the vehicles, and then compare
those measurements to the baseline
response. If the effects were consistent, Figure 1
it would open the door for the mixer
and system engineer to collaborate and feet, with a pair of SUB8004-AS subwoof- A note about the measurement data:
make adjustments in the system tuning ers in cardioid configuration on the ground For each test configuration, we recorded
to offset these effects and create a more below (Figure 1). We started by taking a both a transfer function measurement
desirable (or at least less bothersome) baseline measurement about 50 feet back and an RTA spectrum, calibrated for
listening experience for the audience into the coverage of the PA. SPL . Since the test signal was pink
members in their vehicles. Then, the plan was to park a series of noise, the RTA response yielded very
The following day, timing and weather vehicles at that same spot, place the mic similar information to the transfer func-
cooperated, so I and fellow system engi- in the driver’s seat at approximately head tion magnitude response. Due to the
neer Nate Clark headed over to the shop height, and observe the changes in the lack of direct sound inside a vehicle,
and set up a mock drive-in concert PA in response as measured from inside each the phase and impulse response data
the back parking lot: a Sumner Eventer lift vehicle as we worked through various test was predictably unhelpful. For brev-
held a hang of eight RCF HDL6-A compact configurations (all windows open, front ity, we will focus here on magnitude
line array cabinets at a trim height of 16 windows open, etc.). response data.

Figure 2
GETTING STARTED
We began our investigation by placing the
measurement microphone at head height
on the driver’s seat of Nate’s 2015 Subaru
Forester, parked in the same spot we used
to take the reference measurement, with
the front windows rolled down (Figure
2). We see overall attenuation and a HF
rolloff, which makes sense intuitively (to
me, at least). I will say I was surprised at
the gentle slope of the rolloff, extending
all the way down to the sub range.
The first question to answer deals with Figure 3
windows: maybe we can get better results
by opening all four windows, rather than
just the front two. We tried a few configu-
rations (front two windows down, left two
windows down, all four windows down, all
four windows down and open sunroof, and
then mixing in an open rear hatch for good
measure), depicted in Figure 3.
There are only two real deviations
from the trend here – first, just open-
ing the left side windows seems to give
an inferior result, so it’s probably best
to have window open on both sides of Figure 4
the vehicle. (I have a sneaking suspicion
this has something to do with the car’s Secondly, opening the sunroof causes a opening up the vehicle to a greater extent.
acoustic environment changing from a boost in the response around 300 Hz. Since The next factor to address is the degree
closed-pipe resonator to an open-pipe the PA is flown, the sunroof area is probably to which these results are vehicle spe-
resonator model. Opening just the sin- getting some direct sound that the side win- cific. We tested three more vehicles (a
gle driver’s side front window caused a dows don’t. But – by and large – it doesn’t 2020 Subaru Forester, a 2019 Ford Eco-
virtually identical result.) seem like there’s much to be gained by Sport, and a 2013 Nissan Altima) and the

FEATURE
Figure 5
trends held true – opening more than two

windows yielded no significant change,
with the 300 Hz region being the only
range that showed any variation, likely
as a result of modal effects within the
vehicles’ interiors.
Figure 4 shows the data from the addi-
tional vehicles overlaid with the previous
– the trend is clear and consistent, which
bodes well for rule-of-thumb corrective
practices. If results varied drastically by
vehicle, we’d be dead in the water trying Figure 6
to compensate for it.
What about the combined effects of before we had to pack the rig back into nificant occlusion for vehicles further
several vehicles? When other vehicles are the shop: although opening the additional back (Figure 7).
parked alongside yours, does that change windows and rear hatch doesn’t seem to So we definitely want to fly the PA
your listening experience in any mean- provide any real benefit for the people – even the modest 16-foot trim height
ingful way? inside the vehicle, does it provide any used in our tests was enough to avoid
Figure 5 depicts the change in response improvement for the folks in the next this issue, so a pair of lifts is a good
that occurred when we parked vehicles on row back? Would “please roll down all investment here, with higher trim
either side of the test vehicle. Besides the your windows, for the benefit of those height recommended for deeper audi-
slight increase in the octave around 6.3 around you” become a new addition to ence planes. Rule of thumb – the PA
kHz, which is likely attributable to HF the drive-in pre-show announcement? should have line-of-sight to each vehicle
reflections off the sides of the adjacent It seems not (Figure 6). A vehicle it needs to cover.
vehicles, there’s an interesting bump up parked in front of the test vehicle does Now, where do we go from here? This
in the sub range as well. Without a larger result in some response changes in the is by no means an exhaustive study, and
fleet of test vehicles at hand, it’s impos- low-mid region, but that vehicle’s specific probably raises more questions than it
sible to say how repeatable or consistent window configuration doesn’t seem to answers, but it’s a solid starting point for
this is. change much of anything. We can, how- answering our original question, as we
ever, recommend against using a ground- have enough data on the general trends
ONE LAST THING stacked PA configuration; the lower angle here to inform a tuning decision.
Although our time was limited, I had one of incidence of the direct sound in this Figure 8 exhibits what happens if we
more question I wanted to investigate case means vehicles in front do cause sig- lower the reference trace level by 12 dB,

Figure 7
bringing it in line with the in-vehicle mea-

surements in the midband. We see that,
with the level change out of the picture,
the real deviations lie at the frequency
extremes, above 3 kHz and below 100 Hz.
So to offset some of this, one might rea-
sonably consider reducing the sub-range
energy by 6 – 9 dB, and reducing the typi-
cal HF rolloff of the target curve – in other
words, keep the HF response of the rig
flatter, because the vehicle windshield will
take care of the rolloff for us.
An important element to consider is, Figure 8
of course, the perceptual context. When
you’re listening to a concert from within completely. The same applies here – my the aforementioned perceptive “correc-
a vehicle, your brain knows you’re inside personal approach would be to keep the tions” that a listener’s brain applies
a vehicle, and so the response changes are PA tuned a bit brighter than I would oth- subconsciously, I’d be inclined to make
normal, natural, and expected. Going too erwise, but not try to completely restore only slight reductions in the LF energy
far to offset these changes could result in the missing HF energy. taper of the system, and confirm overall
an unnatural listening experience inside The final piece of the puzzle lies with response by listening from within a vehi-
the vehicle. the equal loudness contours – down in cle on show day if possible. LSI
This is very similar to how I typically the sub region, it only takes about a 5 dB
choose to address level dropoff and HF change to produce a perceived doubling The author gratefully acknowledges Nate
absorption from front to back within a of level. The top half of the sub region Clark, Bill Di Paolo of Entertainment Ser-
venue – completely eliminating it can (50 – 100 Hz) being attenuated by 6 dB vices NY, and David and Patty Tyler of
cause a fundamentally unnatural experi- or more could cause a shift in perception Advanced Automation Corporation for their
ence for the folks further back (because of the low end and how it relates to the assistance with this project.
their eyes are telling them the source full spectrum.
is far way, but we’ve removed some of By the same logic, tuning the system Michael Lawrence is an independent front
the acoustic cues that allow the ears to to completely restore the target curve of house engineer and system tech, and he’s
agree). inside the vehicle may not yield great also the technical editor of various pro audio
So, I personally tend to work to reduce results once the broadband attenuation publications. Read more from Michael and
these effects rather than eliminate them of the vehicle body comes into play. Given reach him at precisionaudioservices.com.

Business Matters
RELENTLESS PURSUITS
Failure makes you better
— just ask Elon Musk!
by Peter Janis
W
hen bringing a new venture to market, some people
look at all of the challenges that stand in their way
instead of looking for the solutions that may be dis-
covered on the road ahead. They beat themselves out of the
race before they have a chance to succeed.
I just finished reading a book about business magnate (and
much more) Elon Musk. Many of those interviewed characterize
him as an unrelenting maniac that demands the impossible
coupled with a curt and often callous temper. He has no patience
for those that say, “It can’t’ be done” and expects everyone to
have the same work ethic that he does. He works from dawn
to dusk and is on the production floor at Tesla or SpaceX every
weekend.
THE GRIND
As with all books, there are always takeaways. Before I get
into it, let me assure you I am no rocket scientist and my own
accomplishments certainly pale as compared in comparison to
Musk’s achievements. But there are parallels. For instance, when
“driving the Radial bus,” I would get up every day at 5 am, deal
with the 200-plus emails awaiting in my inbox, and while driving all of the staff hiring. Mike surrounded Radial with great people
to the office, spend this valuable time talking with engineers and buffered my impatience when mistakes were made. In other
to discuss feature sets or help them work through challenges. words, he’s an excellent manager, but isn’t an entrepreneur.
When I arrived at the office, the day would be filled with meet- When someone says that something couldn’t be done, Musk
ings with various departments, writing copy or proof-reading takes on the project in addition to his role as CEO. He delivers. I
manuals, testing products, and depending on the urgency, putting too have a relentless desire to make products as good as possible.
out fires. I would always be the last person to leave yet made the How can you win if you deliver second best?
effort to be home by 7 pm to spend some time with the family When I had an idea to develop a line of studio room kits to
over dinner. compete with Auralex, Mike tried to dissuade me because we
Most weekends I would be at my desk from early morning didn’t have the resources to get it done. But instead of aban-
until my son’s soccer practice then, if it was nice outside, try doning the project, I developed the whole thing in my basement
to get some “Peter Time” by going for a hike in the hills, a bike at home and presented the Primacoustic brand complete with
ride, cut the lawn or play a tennis match. I’ve often touted the packaging concepts and marketing materials.
importance of what’s known as blue-sky time – where your Being an entrepreneur is a relentless and often thankless task.
mind is set free from the daily grind. This is when ideas for It often takes years to bring your dream to reality, and over this
new products begin to take shape and solutions to circumvent period, there’s a constant rolling with the waves, changing staff,
barriers emerge. the come and go of products, and in the end, the perception
Like Musk, I had no patience for mistakes. Back in the day, my from the outside that you’re an overnight success.
boss at Fender used to take me aside and tell me to count to 10 The real success, however, comes from ability to circumvent
before I exploded. The best thing I ever did was hire Mike Hill, challenges and provide your team with a roadmap around barriers.
our general manager and my right-hand person at Radial. He This is coupled with the unyielding drive to set goals and achieve
agreed to take on the position with the stipulation that he did them. And guess what? You’re certain to fail in some instances.

MAKING IT HAPPEN tons of money on replacing batteries for unhappy users. In
In the late 1990s, under the tutelage of Bryan Adams’ Ware- an effort to drive down costs, we contacted e-Moli-Energy
house studio designer Rob “Obvious” Vermeulen, we compared and asked if we could assemble the battery packs ourselves.
the Radial JDI direct box against several competitive models. They said no – lithium, if exposed to water, will blow up
One product surpassed the JDI, a custom-made active DI from like a bomb.
studio designer John Vrtacic, renowned for his work at Little This brings me back to Elon Musk. Remember reading about
Mountain Studios (AC/DC, Metallica, Aerosmith). first-generation Tesla automobiles getting into accidents and
Ron suggested we purchase the design from John and market then catching fire? Musk clearly stole my idea on rechargeable
it. The problem with this DI was that it required a 110-volt AC batteries (kidding!), only he applied it to cars.
power connection – OK for studios, but for touring, I wanted it And just like Musk, we failed to deliver in the early days, but
to work on 48-volt DC phantom power. In short, I was asking we stayed the course, found a more suitable design engineer,
for the impossible. and although we abandoned the rechargeable battery idea, the
In an effort to circumvent, I had the “brilliant” idea of incor- JDV ended up being a favorite in studios around the globe.
porating rechargeable batteries into the box and have phantom On the other hand, Musk invested heavily in lithium battery
power trickle-charge the battery pack while on stage, so we technology, eventually making his own and developed ways to
sourced lithium batteries from e-Moli-Energy, a manufacturer protect them from mishaps. He was not deterred by the failures
that happened to be about two miles up the road. encountered along the way. He now sells battery packs to Mer-
We had an amazing audio circuit, but our product design engi- cedes and Toyota, and essentially brought what was considered
neer of the day was unable to deliver on the power system. To to be impossible to reality. LSI
get around the inability to trickle-charge the batteries, one had
to connect the DI to an external DC power supply and charge it Peter Janis is the former CEO of Radial Engineering, Prima-
before every show. In honor of John Vrtacic, I called it the JDV. coustic, Hafler and Tonebone. He now runs exit-plan.ca where he
Because this was the early days of lithium, the batteries assists business owners with their strategic planning, growth and
would eventually encounter memory problems and we spent eventual retirement.

Tech Topic
THE RIGHT CALL
How to
avoid poor
equalization
choices.
by Merlijn van Veen
“If you don’t know the answer before you

start to measure, how do you know you are
getting a good measurement?” – Ivan Beaver,
chief engineer, Danley Sound Labs
I
f I were to ask you to measure the Figure 1: A high-resolution measurement of a horn-loaded loudspeaker in an anechoic
voltage coming out of the electri‑ room (non-smoothing).
cal outlet closest to you using a
multimeter or VOM (volt‑ohm‑milliamme‑
ter), you would have expectations. How‑
ever, should the multimeter’s display, for
whatever reason, not show the expected
voltage for your specific region, there’s a
valid reason to start investigating. Maybe
the meter’s batteries are dead or maybe
a circuit breaker tripped. Regardless,
you were right to question the outcome
because it didn’t meet expectations.
By extension, one can argue that the
same can be said for using a dual‑channel Figure 2: Whack-a-mole EQ: “The practice of killing arbitrary objectionable frequencies
FFT analyzer, except that most users have that occur persistently upon noticing.”
difficulties predicting what the results are
supposed to look like and are tempted Today’s FFT (fast Fourier transform) again even though it’s a perfectly good
to accept the outcome at face value with analyzers provide so much resolution razor blade that’s “razor‑sharp.” As in
little to no scrutiny. Complicating mat‑ (especially compared to real time analyzers medicine, we should apply the principal
ters further: how the analyzer is set up – RTA – with only third‑octave resolution) precept of “first, do no harm” because
will greatly affect the appearance of the that users, out of the gate, typically resort not every detail we see on an analyzer
results, which is the focus of this article. to gratuitous amounts of smoothing to justifies intervention (Figure 2).
Loudspeakers with a flat (or otherwise even out the responses in an attempt to
desirable) free field frequency response make sense out of the madness. SURVEY
become “unequalized” upon deployment However, all that detail such as ripple, A while ago I reached out with a sur‑
(typically as part of a larger sound sys‑ prior to smoothing, is not necessarily vey to my followers on Facebook, with
tem) for reasons beyond the scope of this bad. Did you know that loudspeakers are this question: “Is the signal‑to‑audience
discussion. However, those who use ana‑ expected to exhibit ripple, even under ratio, i.e., sound system loudness with
lyzers resort to their computer screens to “ideal” circumstances such as an anechoic respect to audience noise, expected to
identify the changes the loudspeaker (or room (Figure 1)? change the transfer function during a
sound system) have undergone in order If I were to show you the edge of a live concert?” The majority of respon‑
to potentially “equalize” those changes razor blade under an electron micro‑ dents (two‑thirds) answered yes, and
where applicable. scope, you’ll likely never shave yourself if they’re correct, it would suggest that

Rome, Italy
Middleton, WI, USA
www.linkusa-inc.com
+1 855-433-LINK
TECH TOPIC
sound systems are “re-equalized” when

the audience is quiet or loud.
We know this isn’t true unless we invoke
a change such as actual EQ. So what could
have led these audio professionals to con-
clude that transfer functions change with
audience enthusiasm (or lack thereof),
which would suggest a different sounding
system (psycho-acoustic phenomena such
as masking excluded)? It’s an important
question in the interest of eye-to-ear train-
ing if we want to measure what we hear
and hear what we measure.
NOISE Figure 3: Signal-to-noise ratio (all things being equal).

Provided you understand a transfer func-
tion, Figure 3 should make you appreciate enough of them should ultimately allow and power is a scalar which is a quantity
that audience sound effectively translates you to overcome the background noise. represented by a sole value that describes
into uncorrelated noise, independent of Analyzers, when set up correctly, offer its magnitude. Meanwhile, the squar-
how the mix or sound system sounds, similar functionality, where each doubling ing operation in RMS robs us of the sign
where the signal-to-noise ratio (SNR) is of the number of averages translates into (and signs matter) leaving us with only
a balancing act between a sound system a 3 dB boost in SNR without actuality positive values.
and audience loudness. cranking up the excitation signal level
During a live concert, audience noise by brute force. Each time the number of “Whether you owe me money or I owe you
(among other things) can alter the appear- averages is doubled, twice the amount of money, the difference is only a minus sign.” –
ance of a transfer function depending on correlated data (the excitation signal) is Walter Lewin, former MIT physics professor
how the analyzer is set up. Therefore, it’s captured, making signal gain 6 dB more
in our best interest to understand these market share. When dealing with scalars, there’s no
settings and how they affect the transfer Irrevocably, each time the number of direction that makes RMS averaging time
function’s appearance so we can deliber- averages is doubled, also twice the amount blind, as we’re about to discover.
ately refrain from using EQ (do no harm), of contaminating uncorrelated data (noise)
because audience noise doesn’t “unequal- is captured. However, doubling uncor- VECTOR AVERAGING
ize” a sound system. related data (unlike correlated signals) A vector (think of an arrow) is a quan-
only results in a 3 dB increase. Therefore, tity that’s represented by two values that
AVERAGING the net increase in SNR equals the 6 dB describe the vector’s magnitude (the
Imagine being in a crowded bar, strug- signal boost minus the 3 dB noise boost, length of the arrow) and its direction
gling to have an intelligible conversation leaving 3 dB in favor of signal-over-noise (which way is the arrow pointing). Noise
because of “cocktail party” chatter and for each doubling of averages. at a constant level can be represented by a
loud background music. In such a sce- Increasing the number of averages vector whose magnitude remains constant
nario, it’s not uncommon to ask some- can artificially suppress the noise (floor) over time, but whose direction changes
one to repeat him- or herself rather than without raising the excitation signal level randomly over time (Figure 4). When
resorting to shouting, which is a brute with brute force, provided you choose multiple vectors of constant magnitude,
force attempt at increasing SNR. With the correct type of magnitude averaging. whose direction is random (random phase
each repetition you’re likely to gain Magnitude averaging can be performed angle) are averaged, the mean magnitude
another missing piece of information, in two vastly different ways (or types) collapses to zero as the number of averages
such as another syllable or consonant, called RMS and vector averaging, which is increased.
because the background noise is random, can (and are likely to) affect the transfer However, our excitation signal, when
whereas pieces of information that were function’s appearance to a great extent. represented by a vector, preserves direc-
already successfully received are being tion as well as magnitude over time.
reconfirmed. When repeated enough times RMS AVERAGING When averaged, the mean magnitude
you’ll be able to ultimately reconstruct Root-Mean-Square (RMS) averaging is and direction are expected to be identical
the complete sentence and the message effectively signal power averaging. From to the average’s constituent components
is finally received. As long as the message Ohm’s law we can derive that power is (our excitation signal). Notice that in
stays consistent with each repetition, proportional to squared amplitude values, Figure 4, both magnitude and direction

TECH TOPIC
for signal-plus-noise approach those of

signal, which is what we’re ultimately
after, as SNR or the number of averages
is increased.
As with our hearing sense and brain in
the crowded bar, vector averaging features
the ability to progressively reject noise with
increasing averaging. Further, having a
direction descriptor in addition to mag-
nitude (unlike the scalar), makes vectors
subject to phase angles and inherently time.
When do RMS and vector averaging
produce identical transfer functions?
Only when:
1) Measurement and reference signals
are properly synchronized (delay locator). Figure 4
2) There’s little to no contamination
by non-coherent signals, i.e., ample SNR
and D/R.
Figure 5 shows that as long as there’s

ample SNR, i.e., 10 dB or more, as seen at
125 Hz and below, RMS- and vector-av-
eraged transfer functions are in good
agreement. But, with 0 dB of SNR or less,
as seen at 1 kHz and above, noise deter-
mines the appearance of the RMS-av-
eraged transfer function (blue) and no
amount of averaging will change that.
Are you convinced that an audience is
always 10 dB less loud than the sound
system during songs? Notice that the vec-
tor-averaged transfer function (green), even Figure 5
for negative signal-to-noise ratios (SNR less
than zero), remains virtually unaffected which is also true for the vector-averaged aged transfer function (green), with help
with help of a modest amount of averaging. transfer function (green), but to a much of a slight increase in averaging, remains
lesser extent as we can tell from looking in much better agreement with the orange
HOSTILE ENVIRONMENT at the orange trace underneath, which is reference trace. The transfer function
In the real world, comb filtering is inevita- the original comb filter in the absence of peaks for both types of averaging are still
ble, and its frequency response ripple is a noise. The transfer function peaks for both in good agreement with 10 dB of SNR.
function of the relative level offset between types of averaging are in good agreement. When SNR is reduced to 5 dB, the fre-
the comb filter’s constituent signal copies. When SNR is reduced to 10 dB, the blue quency response ripple for the RMS-av-
In the absence of noise, both RMS- valleys rise substantially, which reveals eraged transfer function (blue) is about
(blue) and vector-averaged (green) transfer a serious weakness of RMS averaging 6 dB. It appears as if we’re in an anechoic
functions in Figure 6 are indeed identical. which is that its incapable of distinguish- room (Figure 1), whereas the vector-av-
When SNR is reduced to 20 dB (black line ing noise from signal. Signal (pink) has eraged transfer-function (green) persists
spectrum in RTA plot), with respect to the been destroyed at certain frequencies and shows us the real deal; that is to say,
signal’s spectral peaks (pink line spectrum due to destructive interaction and all the actual degree of interaction which we
in the RTA plot), appearances change. (Edi- that’s left at those frequencies is resid- can tell from the green ripple that has
tor’s Note: There’s a video embedded with this ual background noise (black) that “fills” not been obfuscated by noise. Also, with
article on ProSoundWeb that adds further these cancels (valleys). this little SNR (5 dB), the transfer func-
clarity to Figure 6 and the discussion.) Regardless, this uncorrelated contami- tion peaks for both types of averaging
Notice that the cancels (valleys) of the nation makes the RMS-averaged transfer are no longer in good agreement. For all
RMS-averaged transfer function (blue) rose, function look different. The vector-aver- frequencies, the RMS-averaged transfer

function (blue) rose which is the limita-
tion of RMS averaging where signs have
been lost. As SNR is reduced, RMS-aver-
aged transfer functions can only go up.
When SNR is reduced to 0 dB, both
transfer functions look completely dif-
ferent. The vector-averaged transfer func-
tion (green) persists and continues to
show how severely compromised the sys-
tem is (strong ripple) unlike the RMS-av-
eraged transfer function (blue) where the
first cancel (valley) that is 1-octave wide
(11 percent of the audible spectrum) has
been filled to the top with noise (which
also goes for the remaining cancels).
Finally, when SNR is reduced to -6 dB and
noise is now actually louder than signal,
the blue RMS-averaged transfer function Figure 6
suggests there’s no (destructive) interaction
whatsoever, whereas the green vector-aver-
aged transfer function persists. Under such
extreme conditions, one can even set the
averager to infinity (accumulate) in which
case it continues to average for as long as
the measurement is running, improving
SNR artificially as time passes by. How
long should we average? Until there’s no
apparent change in the data? Why wait
longer without getting anything in return?
By now, I hope you can appreciate how
(background) noise can really mess with
the appearance of transfer functions
depending on how the analyzer is set up,
and EQ decisions should be made with
scrutiny. However, noise is just one subset
of a larger family of non-coherent signals.
Real-world measurements of loudspeak- Figure 7
ers and sound systems will be contaminated
with non-coherent signals; that is to say, of phenomena such as early reflections sonic energy upon impact when re-aiming
uncorrelated signals that are not caused whereas detrimental reverberation con- is not an option (symptom treatment). EQ
exclusively by a system’s input signal (cau- sists of phenomena such as discrete echoes. should only be used as a last resort when
sality), or correlated signals that are no It would be extremely ill-advised to all other options have been exhausted,
longer linearly dependent on the system’s make EQ decisions based on echo-con- because EQ can’t differentiate between
input signal. Non-coherent signals come in taminated measurements since echoes the very thing we’re trying to preserve: the
many flavors such as noise (like our audi- don’t “un-equalize” the loudspeaker or mix, and the thing we’re trying to prevent:
ence), late arriving energy (reverberation) sound system. Echoes are late arriving the echo (first, do no harm). If analyzers
outside the analysis window and distortion. discrete copies of sounds, that originated could somehow reject echoes, it would help
at a source, which have become “un-fused” prevent making poor EQ choices.
USEFUL & DETRIMENTAL from the direct sound (first arrival).
REVERBERATION If you’re dealing with echoes, re-aim TIME BLIND
Reverberation is a very involved topic the loudspeakers and work to keep their In the absence of noise, RMS- and vec-
beyond our scope here, but it can roughly sound away from specular surfaces that tor-averaged transfer functions are
be subdivided in two categories: useful and reflect, which causes the echoes (preven- expected to look the same when the delay
detrimental. Useful reverberation consists tion). The other option is to absorb the locator is properly set; that’s to say, when

TECH TOPIC
measurement and reference signals are

properly synchronized. Which raises the
question: what happens if they’re not? In
other words, what happens if the mea-
surement signal arrives out of time?
The finite linear impulse response
(think of an oscilloscope) shown in the
upper plot of Figure 7 is also known as
the “analysis window” whose duration is
determined by the FFT-size and sample
rate. In this example, the FFT-size is 16K
(214 = 16384 samples) which at a sample
rate of 96 kHz translates to a 171-mili-
second-long window. (Editor’s Note: Again,
there’s video embedded with this article on
ProSoundWeb that adds further clarity to
Figure 7 and the discussion.)
Figure 8
Signals that arrive in the center of the
analysis window, while the “door” is ajar, are
properly synchronized and arrive in time
whereas signals which arrive outside the
analysis window are out of time. How will Equation
this affect the transfer functions depending
on the magnitude averaging type? 60 ms, which is a vocal-centric answer. MULTIPLE (ANALYSIS) TIME
The RMS-averaged transfer function However, there’s no such thing as a sin- WINDOWS
(blue) continues to look the same, even gle-time-fits-all-frequencies delay. Sixty Modern analyzers use multiple time win-
when the measurement signal arrives milliseconds equal 0.6 cycles when you’re dows for the entire audible band instead
outside the analysis window, like echoes 10 Hz, 6 cycles when you’re 100 Hz, 60 of a single fixed window. This allows them
are known to do. This implies that RMS cycles when you’re 1 kHz, and 600 cycles to hit two birds with one stone. First,
averaging can’t tell direct sound from indi- when you’re 10 kHz. After 60 ms, certain multiple windows produce a quasi-log-
rect sound and is time blind! Like noise, (lower) frequencies have barely finished, arithmic frequency resolution or fixed
reverberant energy can only add to the or are still in the process of finishing, points per octave (FPPO), unlike a fixed
RMS-averaged transfer function (blue) and their first complete revolution, how could window where resolution is proportional
make it rise whether it’s on time or not. they possibly have become echoic? to frequency. In order to achieve FPPO,
Remarkably, the vector-averaged trans- A conservative estimate but more real- short time windows (typically 2.5 ms) are
fer function drops proportionally as the istic delay (again, for reasons beyond used for high frequencies, and as we go
measurement signal moves towards the the scope of this article) is 24 cycles, down in frequency, the window duration
edge of the analysis window. By the time which is also frequency dependent. is increased exponentially to about 1 sec-
the measurement signal arrives outside Twenty-four cycles equal 240 ms at 100 ond for the lowest frequencies.
the analysis window (late by 85 ms or Hz, 24 ms at 1 kHz, and only 2.4 ms at This brings us to the second important
more) it has been attenuated by at least 10 kHz! It’s clearly not the same time advantage of multiple windows, which
10 dB for the current number of aver- for all frequencies. When we pursue the is that high-frequency echoes will be
ages. Increasing the number of (vector) idea of a sole time delay for all frequen- rejected much sooner than low-frequency
averages will attenuate the signal even cies, we’re doing a tap delay – which is a echoes, provided we resort to vector-aver-
further. It’s like “virtual” absorption has “rhythmic” echo – whereas real echoes aging and properly set the delay locator.
been applied which attenuates late arriv- are two or more discrete instances of the This gives vector-averaging the capability
ing signals such as echoes (unlike RMS same signal that have become un-fused, to capture and preserve useful reverber-
averaging, which is time blind). and where the time gap is frequency ation such as (stable) early reflections
So how late does a signal have to be to dependent. that strongly affect tonality, and arrive
constitute an echo? So, while vector-averaging is capa- inside the analysis time windows, while
ble of attenuating echoes which arrive rejecting detrimental reverberation such
TAP DELAY outside the analysis window, clearly as echoes which arrive outside the analy-
Classic literature typically states single a single fixed analysis (time) window sis time windows. To RMS averaging it’s
values for the entire audible band, e.g., won’t suffice. all the same...

It would be really convenient if there ence deals with signal power, you should which is something that vector-averaged
was one more metric that could increase apply the 10log10 rule that informs us transfer functions and coherence reveal.
our confidence and keep us from making that +10 dB equals a factor x10. Therefore, Evidently this option is no longer avail-
poor EQ decisions. 10 parts coherent power against one-part able come show time, and you’ll have
non-coherent power equal 10/11 (Equa- to make a judgement call about the sig-
COHERENCE tion 1) or 91 percent coherence. nal-to-audience ratio before considering
Coherence is a statistic metric that’s pro- When coherence equals 91 percent or changing any EQ – that is, if you’re still con-
portional to the ratio of coherent signal more, notice that both transfer functions vinced that audience sounds can “un-equal-
power to coherent plus non-coherent in the upper plot are in good agreement. ize” a sound system. (I’m kidding.)
signal power (which is the total signal However, once that condition is no longer If actual noise has successfully been ruled
power). It describes the fraction of a met, the traces start to differ substan- out for low-coherent RMS-averaged data,
system’s total output signal power that tially. By how much exactly can be viewed the remaining culprit is most likely late-ar-
is linearly dependent on its input signal in the bottom plot, where we see the dif- riving detrimental reverberant energy,
power (Equation 1). ference with help of “Quick Compare.” which implies that we’re facing a negative
In the absence of non-coherent signals, Vector averaging will always give us direct-to-reverberant ratio (D/R) that EQ
coherence is expected to have a value of 1, an objective measurement, even under can’t fix. This is because EQ doesn’t alter
or 100 percent. In the absence of coher- hostile circumstances, provided we use the directional behavior of a loudspeaker or
ent signals, coherence is expected to have enough averages. Under stable conditions sound system, nor does it add absorption
a value of 0, or 0 percent. It’s a “lump” (no redecorating the venue with a wreck- to the venue, nor does it close the distance
indicator because non-coherent signals ing ball or moving loudspeakers), it will between audience and sound system. The
come in many flavors. reveal at one point in space (where the remaining options speak for themselves.
Since coherence is always computed vec- measurement microphone lives), if, and to While first arrivals are always anechoic,
torially, it’s susceptible to phenomena such what degree, the sound system has become indoors, reverberation is destined to catch
as noise, late-arriving energy outside the compromised due to loudspeaker-to-room up and stable (early) first order reflections
analysis windows (echoes), and even dis- and loudspeaker-to-loudspeaker interac- are likely to add gain (room gain) that
tortion. What it won’t do is tell us which tion – and it’s quite immune to change, greatly affect the listening experience. This
is which. For that, we need an analyzer unlike RMS averaging. kind of useful reverberation is admitted for
that’s not the software. The software is However, when coherence drops below both RMS- and vector-averaged transfer
just a tool, like an army knife. We users 50 percent, non-coherent power domi- functions, but in addition, the latter averag-
are the actual analyzers (thank you Jamie nates over coherent power, any EQ deci- ing type rejects detrimental reverberation,
Anderson) and it’s up to us to determine sions based on RMS-averaged transfer which requires a different remedy.
the nature of non-coherent power... functions should be postponed until one
is convinced of the “flavor” of non-co- IN CLOSING
PUTTING IT TOGETHER herent power. Is it noise (including the This discussion is not meant to be an exer-
High-coherence data is actionable data. audience), or late-arriving reverberant cise in better or worse. That said, RMS-av-
Figure 8 provides an example of an energy outside the analysis windows, eraged transfer functions are very prone
extremely lousy measurement that makes or a combination of both? Because any to circumstances and there are many rules
for a good example. As of version 8.4.1, EQ decisions based on the appearance of engagement for interpreting the data,
Rational Acoustics Smaart software now of low-coherent RMS-averaged transfer whereas vector-averaged transfer func-
provides the option to display squared functions whose shape is determined by tions are much more resilient. When used
coherence like Meyer Sound SIM, which dominating non-coherent power (bottom together, side by side, both averaging types
is very convenient. If we look at Equation plot in Figure 8) – and not signal – should make for a very complete picture.
1, we should be able to appreciate that one be made with utmost caution! But even more important is a proper
part coherent power and one part non-co- Noise can be ruled out by first cap- understanding of coherence, because it
herent power equals half (or 50 percent) turing a line spectrum of the noise floor will inform us whether we’re measur-
coherence, or a 0 dB coherent-to-non-coher- prior to turning on the excitation signal ing the sound system or the audience.
ent power ratio. In other words, 50 percent (generator). Once the noise floor has been Regardless, high-coherent data is reliable,
is the break-even point which is indicated captured, we can turn on the generator actionable data. LSI
with the black dashed line in both plots. and capture another line spectrum. If
RMS- and vector-averaged transfer the latter lives 10 dB or more above the Based in The Netherlands, Merlijn van
functions are expected to be near identical former, it should be good. This could Veen (www.merlijnvanveen.nl) is a noted
when coherent power exceeds non-coher- still leave local SNR-minima at certain audio educator, and he also serves as senior
ent power by 10 dB, independent of the frequencies where the direct sound has technical support and education specialist
flavor of non-coherent power. Since coher- been killed due to destructive interaction, for Meyer Sound.

First Look
d&b AUDIOTECHNIK 44S

Detailing a new versatile compact
loudspeaker. by LSI Staff
T
he new d&b audiotechnik 44S is a two-way, passive loudspeaker housed in a
compact, versatile package, and is also the company’s first flush mountable
model, accompanied by a range of mounting options.
The 44S is designed for versatility, well-suited for situations where the need for more
sound is apparent but the available space is an issue. It’s capable of filling gaps from The new d&b 44S loudspeaker, with an
a main PA such as serving as front fills on a stage lip or inset flush mounted, as well optional back box that works with the
as being mounted in stairs/walls and under ceilings/balconies. An optional mounting enclosure to provide +/- 20 degrees of
accessory keeps the loudspeaker closely mounted to surfaces. And, the loudspeaker adjustment in 5-degree increments.
can also be pole mounted and flown, with accessories available for these applications.
“For audio professionals who may be challenged by dimensions, architecture, or aesthetics, the 44S loudspeaker is a powerful,
compact, flush-mountable loudspeaker that provides the sound needed, no matter what space they have to work with,” states
Wolfgang Schulz, d&b product manager. “It’s a very compact point source loudspeaker for flexible use in nearfield applications,
and there is a big need in our industry for this type of form factor.”
Housed in an enclosure that’s quite miniscule at 5 x 15.3 x 5.9 inches (H x W x D), the 44S was engineered to be as visually
unnoticeable as possible. That doesn’t mean it’s sonically invisible, however, with a stated output of 121 dB SPL when used with
a d&b 10D installation amplifier and 123 dB SPL with 30D or D80 amplifiers.
Onboard are dual 1.5-inch dome tweeters working with the waveguide, joined by a pair of 4.5-inch neodymium drivers to
deliver the lows. Stated frequency response is 90 Hz to 17 kHz.
An intelligent waveguide and baffle design are engineered to provide smooth horizontal dispersion down to the lower fre-
quencies while being tightly focused vertically. The 90- x 30-degree dispersion pattern delivered by the waveguide – which is
rotatable – is intended to help keep sound
directed where it should be, and the company
also notes that two cabinets can be clustered
for wider coverage.
Further, an asymmetric cabinet design and
optional back box allows adjustments of up
to +/- 20 degrees in 5-degree increments to
accommodate different listening heights.
The rotatable waveguide extends this to both
horizontal and vertical positioning.
The 44S is housed in an injection-molded
enclosure that carries dual M8 threaded
inserts on the rear. Connections include both
4-pin Phoenix Euroblock and NL4 M. The
company offers custom options for color – all
RAL colors are available – as well as texture
and weatherization.
Designed with nearfield applications in
mind, the 44S can also serve as a stand-alone
system, working with Bi8, 12S-SUB or E12X-
SUB subwoofers for additional low frequency
content. They can even be placed around a
venue to help create a compact d&b Sound-
scape immersive system. LSI A range of suggested applications for the 44S.

Microfiles
CALRAD DM-17
The story behind a classic
vintage 60s microphone.
by Craig Leerman
A
s many of you know, I have a large vintage microphone
collection and have written a several articles (available
on ProSoundWeb) about some of the more interesting The Calrad DM-17 dyanmic microphone.
models in my collection. Aside from mics from Shure and Elec-
tro-Voice, the third most-represented brand in the collection is COMPLETING A QUEST
a company called Calrad Electronics. One of the recent acquisitions for my collection is the Calrad
While not a well-known name, Calrad is still going to this DM-17, a stand-mounted dynamic model that was intended for
day, selling mics as well as other audio and electronic gear. I speech, vocals and instruments. The catalog copy for it states,
have dozens of vintage Calrad units dating from the late 1950s “Smooth natural sound on voice or music.”
through the 70s. I ran across this mic when I went to a house to look at some
used equipment the owner had for sale. He seemed disappointed
AN INTERESTING HISTORY that I was more interested in the old DM-17 he had on display
Calrad (the name comes from “California Radio”) was founded than I was in the more expensive guitar amplifiers he was selling,
in the 1950s when the need for electronics greatly expanded but after making a deal for a Fender amp plus the mic, he was
after World War II, and it’s been owned by the same family happy. And I was more than happy because I’d been looking for
ownership for more than 60 years. In the past, the company a clean DM-17 for years.
offered many different types of mics including models for radios, It’s a good-looking example of a typical stand-mounted mic,
crystal and dynamic models for broadcast and recording as well with a base that screws directly to 5/8”-27 standard threads on
as mics intended for live sound applications. a mic stand. The base also houses a four-pin screw-on audio
Calrad also provided small mic mixers, accessories such as desk connector as well as an on-off switch mounted on the base,
stands, plugs and adapters, headphones, raw-frame loudspeaker facing the user.
transducers, loudspeaker systems, and power amplifiers. Also The switch is surrounded by the name plate. Attached to
on the docket were a host of general electronic parts and even the base by a swivel joint is the mic body, about seven inches
test gear like VOM meters. long with a steel grill on the front as well as four slotted side
Like many companies before the Internet age, Calrad pro-
duced catalogs showing its products. While I grew up on the
East Coast and had never heard the before I started collecting
mics, I did spend hours in my youth looking at electronic gear in
other catalogs from companies like Radio Shack and Lafayette.
(If I had lived on the West Coast, I’m sure I would have drooled
over all the gear in the Calrad catalogs as well.)
The earliest Calrad catalog I own is number 37, published
in 1960 or 61, and it lists 11 different crystal and dynamic
models as well as two push-to-talk mics for Citizens Band (CB)
radios along with a cool mic for acoustic stringed instruments.
The company’s gear was also sold by a few other retailers – I
own a few vintage Burstein-Applebee electronics catalogs that
include some Calrad mics as well as mic mixers and accessories.
The current Calrad online catalog still shows audio items like
amplifiers, some replacement loudspeakers and a lot of acces-
sories like windscreens, mic stands and cables, but there’s only The mic’s on/off switch and The four-pin screw-on connec-
a single economy handheld dynamic mic. branding. tor on the base.

MICROFILES
ports on each side to facilitate a “pear shaped” (cardioid) pattern. gold color (the same gold as a few of my Radio Shack cartons),
A note in the catalog: “This microphone reproduces true sound reinforcing that various mics and packaging were made in the
with unwanted pickup eliminated from sides or rear due to a same factories in Japan and re-badged.
sensitive pear-shaped pickup pattern.” No matter the lid color, early cartons carried a sticker with an
The DM-17 is built like a tank, constructed of rugged metal orange color oval on a dark blue background. Smaller ones, where
with a satin chrome finish. With a very good-looking stream- the sticker was also smaller, might just include the model name
lined “Art Deco” style, it would not look out of place on a stage and impedance, while larger stickers might also list the contents
today. It’s a dual-impedance unit that shipped in high-impedance and tell a little about the mic’s intended uses. No matter the size or
mode (50,000 ohms). The catalog explains that low-impedance content of the sticker, all models state “Made In Japan” on the label.
(50 ohm) operation could be obtained by moving one wire. The Calrad DM-17 may not be weird looking or exotic like
And, the mic shipped with a (pretty short) six-foot-long cable. some of the other models in my collection but it’s a great exam-
ple of a versatile rugged stage performer. LSI
STRIKING SIMILARITIES
Like many other electronic companies in that era, Calrad seems to Calrad DM-17 Stated Specs
have had many – if not all – of its microphones made and badged Frequency Response: 40 Hz – 15 kHz
in Japan. I own a lot of similar looking models that are different Impedance: 50 Kohm or 50 ohm
only in name and/or some cosmetic features. Some of my Calrad Sensitivity -52 dB (at 1 kHz)
models are identical to those badged as Olsen, Monarch, Tiesco, Price in the early 1960s: $16.95
Fen Tone, Lafayette and Claricon. Looking at various vintage mics
manufactured in Japan, some units even use the same model Craig Leerman has worked in a wide range of roles in professional
numbers even though they carry different brands. audio for more than 35 years in a dynamic career that encompasses
Early Calrad microphone boxes shipped in cardboard cartons touring, theater, live televised broadcast events and even concerts at the
with lift-off-type lids. Most of mine have a blue lid and white White House. Currently he owns and operates Tech Works, a regional
box, but a few of are all white. In addition, two of them sport a production company that focuses on corporate events based in Reno.

Project Memo
SONIC REJUVENATION
The Bearsville
Theater in
Woodstock
equipped with a
new system.
by Live Sound Staff
A
lbert Grossman – manager of
Bob Dylan, The Band, Janis
Joplin, Odetta, and Peter, Paul,
& Mary, among many others – founded
the Bearsville creative complex in the
1970s in Woodstock, NY. Sadly, he passed
away while the Bearsville Theater was still
under construction, but his widow, Sally A perspective of the Bearsville Theater in Woodstock, where the new loudspeakers are
Grossman, saw it through to comple- housed in preexisting chambers in the left and right wall surfaces, while the subwoofers
tion in 1989. The John Storyk-designed reside under the stage, concealed by the draping.
theater remains part of a complex that
included restaurants, residences, the Utopia production studio, rig is famous for showing up, getting deployed in minutes, and
and a recording studio. then inspiring the skeptical question, ‘will it be enough?’” Denis
Artists such as The Rolling Stones, Isley Brothers, Ozzy says with a laugh. “They always ask because the Danley SM80s
Osbourne, REM, Peter Tosh, Phish, Dave Matthews Band, and look so small compared to the inefficient conventional boxes
many others recorded at the studio. Todd Rundgren produced that they’re used to. Then I fire it up and they’re like, ‘what the
MTV’s earliest music videos in the Utopia studio. In addition to heck?’ Not only is it plenty loud enough, it sounds way better
most of the acts listed above, The Pretenders, Blondie, Bob Weir, than what they’re used to.”
Paul Butterfield, and countless others have graced the stage of the Frazza knew different tops would be needed to meet the needs,
Bearsville Theater. It’s a historic place, and now with a new sound so Denis worked with Skip Welch of Danley to arrange a demo of
reinforcement system headed by Danley Sound Labs components, the SH46 full-range loudspeaker together with TH118XL sub-
it will reopen with an improved sonic signature. woofers in the theater, and the resulting sound design utilizes
“Albert Grossman originally intended the Bearsville Theater
to be a showcase venue for his artists to present to the indus-
try,” notes Robert Frazza, veteran live sound engineer (Todd
Rundgren, Adrian Belew, ABBA, and 30-plus year Woodstock
resident and Bearsville Theater engineer). “The property was
an old farm, and the theater is built into the barn. Albert
brought in John Storyk to make sure the acoustics were out-
standing, and even with a terrible reinforcement system, it’s
a great-sounding room. With the new Danley system, it’s
blowing everyone away.”
The sonic upgrade found its way into the Bearsville Theater
via Stan Denis and his Albany-based production company, Denis
Entertainment Group. Frazza had used Denis’s portable Dan-
ley SM80 and TH118XL rig for Woodstock-area shows to mix
Orleans, Tony Levin’s Stick Men, and Phil Keaggy. “My Danley The Danley TH118XL subwoofers in a line under the stage.

PROJECT MEMO
a stereo pair of SH46s cover the console, chosen for its familiarity
400-capacity room, supported among mix engineers are already
by four TH118XL subwoofers. familiar with it.
All are driven by a four-channel Meanwhile, two additional
Danley DNA 20k4 Pro ampli- stereo pairs of Danley GO2 8CX
fier – one channel each for each cover the bar, where patrons
SH46, two central TH118XLs get a view of the stage through
together on channel three, angled glass windows. They are
and two f lanking TH118XLs slightly time delayed in order to
together on channel four. Denis synch with the low end coming
used Danley’s onboard DSP and from the TH118XL subs about
presets as starting points during 50 feet away.
commissioning. “The [new system] commis-
Frazza likes to run full-range sioning was another one of my
boxes as if there were no subs, so joyous ‘Danley moments’,” Denis
Denis set their high-pass filters concludes “It exceeded every-
to match the 75 Hz response of one’s, already high, expectations,
the loudspeakers themselves. and everyone is thrilled with the
Frazza mixes in the subs as results. Like it was in its heyday,
needed. To round things out One of the system’s new Danley SH46 loudspeakers mount- the Bearsville Theater will be the
in the room, a pair of Danley ed in its chamber, which is then covered with a scrim. place that everybody wants to play
GO2 8CX full-range loudspeakers between New York City and Syr-
provide front fill when needed from movable positions at the acuse or Buffalo. It will be the kind of place you have to play, just
front lip of the stage. The system also has a new Midas M32 so you can say that you played there.” LSI
KINDLE FIRE
included with
3DME
PURCHASE
+
FREE SHIPPING!
Hear
incredible
Hear this!
Discover More. Hear incredible. ASIaudio.com

World Stage
THE BEAT GOES ON

Pressing forward with new
applications despite the
conditions.
by Live Sound Staff
Radius, Chicago
The main hall at this 55,000 square-foot venue, scalable in capacity

from 2,500 to 3,800, was recently outfitted with a new sound
reinforcement system incorporating d&b audiotechnik KSL loud- d&b KSL arrays flying in the main hall at Radius in Chicago.
speakers installed by Brown Note Productions of Thornton, CO.
Located in the city’s East Pilsen neighborhood just south of The
Loop, Radius includes a VIP mezzanine level, artist lounge, four
artist rooms with full amenities, an open-air artist compound
area, production offices, and RV/truck parking with direct access
to the stage for load-in and out. The space is being used to present
a range of live music and is set up to handle most touring shows.
Since the pandemic it’s shifted to small socially distanced expe-
riential events as well as private and corporate events.
Ryan Knutson of Brown Note explains that the client attended
a system demonstration at the Mission Ballroom in Denver (also a
Brown Note KSL project) as part of the decision-making process.
Once the direction was determined, the designers utilized d&b
ArrayCalc for modeling, helping to determine optimum deploy-
ment. “The d&b KSL loudspeaker system was essential – from
the start, we wanted the sound to be a major differentiator for
Radius and this system was the driving force,” states owner Nick
Karounos. “With this system and the venue acoustics, we’ve The Allen & Heath SQ-7 at front of house at the newly remodeled
essentially addressed a major complaint of other venues that Granada Theatre. Photo courtesy of Haizey Photography.
were a theatre first and then retrofitted into a concert venue.”
The specific components in the new system include 11 KSL “Crown Jewel of Southern Illinois,” now presents a diverse
loudspeakers (7 KSL8, 4 KSL12) per side for a total of 22, 10 range of live concerts and event audio playback following a
SL-GSUB subwoofers, tour Y10p loudspeakers for front fills, multiyear renovation project that kicked off in 2017 as a new
two Y10p bar area fills, two more Y10p for under balcony fills, owner took the reins.
and five 10S-D loudspeakers for the mezzanine and VIP area, Starting with the removal of the seats and original stage,
The loudspeakers are driven by 17 D80 amplifiers and three construction projects also included new floors, a large stage
D20 amplifiers working with two DS10 audio network bridges. extension, and an audio infrastructure that makes use of the
SQ’s networking capabilities to place drop locations across
Grenada Theatre, Mount Vernon, IL the venue for I/O expanders. The SQ-7 surface is paired up
to AR2412 and AR168 AudioRacks over Cat-6 that feed three
This 1930s era Art Deco picture palace has been converted to Powersoft amplifiers driving Tectonic Audio Labs PL10 main
a multipurpose events center and cultural hub, and it’s been loudspeakers and subwoofers.
outfitted with a flexible audio backbone implemented by local “We chose our equipment configuration to make hosting a
production partner JA Pro Sound that utilizes an Allen & Heath wide variety of events possible,” says Granada Theatre owner
SQ-7 mix surface at front of house. The venue, known as the Russell Brown. “The SQ-7 was really at the heart of the deci-

WORLD STAGE
sion-making process because of its ease of operation paired with

tons of mixing power. I’d never call myself a sound engineer, but
as a venue owner I can run sound for small corporate events and
hire outside pros to run our live music gigs. This is the ultimate
in flexibility that a 350- to 500-seat venue like ours requires.
We finished up renovations right in the midst of COVID-19, so
our next phase will require this sort of flexibility to generate
revenue and best make ends meet.”
Dee Events Center, Ogden, UT
Poll Sound (Salt Lake City) recently deployed a new sound rein-
forcement system headed by L-Acoustics Kara(i) loudspeakers The six array clusters at the Dee Events Center each incorporate
at the this large arena on the campus of Weber State University 11 Kara(i) loudspeakers and two SB18i subwoofers.
(WSU) with seating for nearly 11,600 spectators in its circular
bowl. Although the school has continually invested in various
upgrades to the venue over the years, one thing that remained
unchanged for more than a quarter century was the facility’s
sound system, which had become decreasingly effective with time.
“The facility’s previous sound system probably performed
PHOTO CREDIT: CLIVE TOTMAN

okay when it was installed back in the ’90s, but ‘state of the art’
has certainly changed a lot since then, leaving the Dee Events
Center behind in terms of impact and intelligibility,” says Poll
Sound Owner Deward Timothy, who spearheaded the project.
Poll Sound utilized L-Acoustics Soundvision design software
in determining the optimum system approach for the venue. The
result is a bowl system made up of 66 Kara(i) enclosures and a
dozen SB18i subwoofers, divided into six identical arrays of 11 Musical collaboration underway via Dante networking at the
Kara plus two adjacent SB18i evenly spaced around the cloud and Guildhall School of Music & Drama in London.
scoreboard above center court and hung directly from the ceiling of
the geodesic dome. For power, a dozen LA12X amplified control- To adhere to social distancing requirements, The Gold Medal
lers are split into four racks positioned around the cloud catwalk. performances were constructed across four separate rooms. The
To meet the challenge of having audio originate from the stage, largest space was populated by those on string instruments and
Poll Sound chose to specify four medium-throw L-Acoustics Syva the piano, with each participant located two meters apart. Wood-
colinear loudspeakers, each seated atop a Syva Low enclosures wind and brass instruments were split up each into their own
on the stage floor for extended LF performance. “These provide rooms, with three meters of space allocated between performers.
the audio precedence and floor coverage, and delay portions of Finally, the conductor was located in a fourth room. The challenge
the main array back to the stage,” Timothy notes “This is easy to of this setup was collaboration between the multiple rooms.
do because we can create coverage zones with the positioning of “We had 90 musicians in total across the different rooms and
the Kara arrays; for example, those facing back to the podium building,” says Julian Hepple, Head of Recording and Audio Visual
and blocked off areas are not turned on when using the stage.” at the school. “We needed to manage a number of inputs and out-
All of the zoning and variation in setups is managed through puts across the space and have them be as latency free as possible.
presets programmed into LA Network Manager. They needed to be able to perform synchronously with one another.”
To do this, 40 Neumann, Rupert Neve Designs, Schoeps,
Guildhall School of Music & Drama, London and DBA directional microphones were strategically placed
across the space to capture instrument audio. These feeds are
This premiere arts college recently adopted Audinate Dante to brought into SSL, Yamaha and Neutrik preamplifiers where
help enable them to overing pandemic-related challenges both they’re translated into Dante-native channels. These Dante
with live performances and a virtual learning environment. feeds then head to Cisco and Dell switch infrastructure across
Key to the school’s musical curricula is its annual award for The two buildings, and then routed to a Solid State Logic System T
Gold Medal – a performance competition that began in 1915 mixer that allows for broadcast specific processing. The audio
and had taken place uninterrupted through 2019. Due to the feeds are then delivered out to two locations: to the broadcast
pandemic this year the annual May performance had to be put mix for live playout via a live production system, and to the
on hold as teaching moved online during the summer term. other performers via headphones.

“With Dante we were able to deliver the correct mix to the
different rooms with an imperceptible level of latency,” Hepple
PHOTO CREDIT: LINFORD BAILEY

concludes. “Our conductor went into rehearsals on day one, and
within 20 bars he said he was ready to go. This is someone who
has decades of experience in the classical performance space,
and it was an immediate acceptance of the new setup.”
Star & Garter, Montpelier, Bristol, UK
Following the sudden death of its legendary landlord Louis Hayle,

the future of this iconic reggae venue was cast into uncertainty,
but it’s been saved and recently re-opened with a new sound rein-
forcement system driven by Powersoft amplifiers. Now under the
direction of Malcolm Haynes, who stepped in to take ownership,
the venue hired local company Qualitex Sound System (QSS) to Very cool bar at the Star & Garter in the
carry out an audio overhaul, which was overseen by Linford Bailey, UK, although it’s not part of the venue’s new Powersoft-driven
better known within the industry as Kutty Qualitex. system.
“I only ever recommend Powersoft to QSS customers,” Quali-
tex notes. “Obviously the size of the job determines which
models I’ll specify. I linked up with CUK Audio about seven
or eight years ago, and since then, I’ve been able to get access
whatever is required, whether that’s T Series or X4L for live gigs
or Quattrocanali and Ottocanali for fixed installs.”
The Star & Garter’s new sound system was required to cover
a number of rooms, including a lounge, dance floor, the main
bar and a “chill-out” area. Although it was a “straightforward
install,” according to Qualitex, the requirements for the venue
were substantially overestimated. “We were told to order 12
Biamp Community W2-228s (2 x 8-inch loudspeakers), and after One of the areas of the new “Front Yard” entertainment space
installing the first two we realized that 12 was a bit too far. We at Ellis Island Casino & Brewery in Las Vegas where National
ended up only using four of them across all of the rooms. It’s Technology Associates implemented Renkus-Heinz ICONYX loud-
usually running at quite a low level but with a very clean sound.” speakers.
The team installed one of the loudspeakers and its requisite
subwoofer in the bar, with another three and two subs in the “With the large glass walls and the multiple floors of dining,
dance floor area. These components are driven by one Pow- there were plenty of reverberant surfaces,” says Shane Snell,
ersoft Duecanali 4804 and two Quattrocanali 2004 models. Project Manager at National Technology Associates, the inte-
“ArmoníaPlus is the standard software for me these days, and gration firm that handled the project. “We knew it was going
I was a big user of the previous version of Armonía (Pro Audio to require Renkus-Heinz to ensure the sound would be high
Suite) before that,” Qualitex states. “The Star & Garter needed quality throughout the location.”
a separate outboard control for the system where each speaker Specifically, National Technology Associates deployed two
could be controlled from behind the bar, but because it hasn’t got Renkus-Heinz ICONYX IC16-RN array loudspeakers and two
DSP capabilities, we just used a Symetrix Jupiter 8 processor.” accompanying IC215S-R dual 15-inch subwoofers to deliver
coverage to the space. ICONYX is equipped with the company’s
Ellis Island Casino & Brewery, Las Vegas proprietary digitally steerable that helps in focusing output on
the audience and off reflective surfaces. The IC16 loudspeakers
Located just off the main Vegas Strip, this venue recently added are also weather resistant, a key consideration in a location that
a new facility called “The Front Yard” that offers entertainment is exposed to the outdoor elements when the roof is retracted.
options ranging from big screens for sports to live music per- “We were able to program the system using Renkus-Heinz
formances, with sound reinforcement headed by Renkus-Heinz RHAON software so the sound was hitting every single location
loudspeakers and subwoofers. The two-story indoor/outdoor we needed it to,” Snell explains. “It took us just one afternoon to
facility is housed under a large retractable sun canopy, with get it tuned to where we wanted it. And while the units are incred-
a balcony area overlooking the main floor. The 350-person ibly compact, which makes them easy to install, there is a ton of
capacity building is also used for weddings, corporate events power in there between the arrays and the subwoofers. Listening
and other large gatherings. to the system from every audience location is truly impressive.”

WORLD STAGE
Nobu Hotel, Chicago
This new property, designed to blend modern luxury and mini-

mal Japanese tradition into the concept of a lifestyle venue, has
been equipped with systems focused on the guest experience,
including high-quality sound across many settings throughout
the building. One of the key elements in this was Martin Audio’s
differential dispersion technology to deliver even coverage.
“Nobu had never used Martin Audio before, so they were
a little hesitant, but I pushed it through as I knew it would
deliver what they wanted,” says Timothy Pickett, the president
of Encompass AV, the Elk Grove Village, IL-based integrator
on the project. “They had heard some of our other projects in
Chicago and I explained that if they wanted us to deliver the
same quality, then Martin Audio was the way to go.”
Pickett and the Encompass AV team decided on a similar Just two (at upper left) of the dozens of Martin Audio CDD6
system design for each of the public spaces but tailored to the compact two-way passive loudspeakers that have been
specific needs of each area, with the CDD series forming the deployed from the entrance all the way up to the rooftop at
backbone of the approach. With the pool, spa, fitness areas, Nobu in Chicago.
restrooms, lobby, conferencing space, rooftop bar and the cen-
terpiece restaurant to cover, dozens of CDD6 compact two-way
passive loudspeakers have been deployed from the entrance all
the way up to the rooftop.
“With Nobu, this is not a nightclub, so we’re not looking for
SPL, we’re looking for even coverage with a really tight, nice low
end throughout the entire space,” Picket explains. “We wanted
people to be able to walk through every area and not hear any
dropouts or comb filtering, and we were able to accomplish that
with the CDD series.”
Brain Busters, New Zealand
Audio directors Mike Papworth and Steve Hartley are deploying

Lectrosonics Digital Hybrid Wireless systems to capture the
unique sounds of this competition show produced by White-
baitmedia at its Christchurch studios that encourages children
to do their best mentally and physically. On the show, 12- and
13-years-old students progress through rounds of questions,
then run a physical obstacle course in what may be the mess-
iest show on TV as kids and hosts endure water, slime, foam
cannons, and whipped cream.
The Lectrosonics gear utilized for the show includes a mix Audio director Mike Papworth, who deploys Lectrosonics Digital
of HH handheld wireless, HMa plug-on, UM400, SSM, LT, and Hybrid wireless gear on Brain Busters in New Zealand.
watertight WM transmitters, a Venue modular receiver, and SRC
slot-mount receivers. “I first came across Lectrosonics working first 50. With the wireless we can pre-mic the kids, get levels,
with Steve at Sky TV in Auckland around 2006,” explains Pap- get good RF, all that, before they step onto set.”
worth. “It’s heavily used for sporting events and is the backbone “When the kids finally do the obstacle course,” Papworth con-
of production in the entire country. It was very reliable even then, cludes, “it’s frame is steel trussing. That would create RF problems
and we’ve grown to trust Lectro beyond anything on the market.” for a lot of gear, but with Lectrosonics, we’ve got it to where we
Brain Busters in particular poses two main challenges: the have clear signal. We had UM400s on the backs of the kids’ safety
sheer volume of contestants and the physical nature of the helmets, and one time, a kid came up too fast under an obstacle
obstacle course. “Originally we were going to have wired mics on and smacked the transmitter very hard. When it came back, the
the four contestant podiums,” says Hartley. “That was impractical T5A and antenna connectors looked completely trashed. Yet it
because we’re shooting five episodes a day. We just finished the had powered through and we kept receiving audio.”

Matchroom Boxing, United States
Arizona Sound Productions (AZSP) is providing audio and

video production for a string of boxing matches across the U.S.,
deploying RCF line arrays and subwoofers to deliver sound
reinforcement in a unique application that replicates the roar
of ring-side fans and is intended to lend additional energy to
the events.
In mid-August, for example, AZSP helped set the stage when
Holden Productions and Matchroom Boxing staged an event in
the middle of downtown Tulsa, OK for a night of fights. No fans
were present, and medical protocols and strict social distancing
guidelines were in place.
Using EASE Focus to determine hang points and angles, the
company designed and deployed a small-scale rig with 16 RCF
HDL 6-A active line array modules flown around the boxing
Compact RCF HDL 6-A active line arrays flown around the ring
ring to cover the floor level populated by judges, fighters, staff,
located in downtown Tulsa for a night of fights. Photos provided
production crew, refs and boxing officials. Six SUB 8003-AS by Matchroom Boxing.
subwoofers under the ring delivered extra low-end “punch.”
“The [HDL] 6-A has been a game changer for us,” says AZSP
owner and lead engineer Jared Jasinski. “It’s a great-sounding,
powerful speaker with an amazing price point. We jumped on
board right away. We could throw it up on a stick for small gigs,
to building 10-module arrays for festivals – it’s a very versatile
box. We built four-box arrays in stereo hanging over the ring on
the north side to cover the ring walk, three-box arrays on the
south side, and one box for the east and west, basically straight
down to hit the floor area.
Hunziken Mill, Rubigen, Switzerland.
This popular 500-capacity live venue that’s housed in a con-

verted windmill that originally opened in 1976 and since has
hosted more than 4,000 concerts, received an upgraded sound
reinforcement system headed by APS components from CODA
Audio. In spite of the prevailing pandemic restrictions, last In this unique view, CODA Audio APS modules are flying left and
summer the management team at the Mill made the decision right at Hunziken Mill in Switzerland, with CUE4 wedges on the
for the audio update to replace an existing system at the end stage.
of its viability.
Swiss audio specialists Schallwerk designed and imple- goes for the first balcony, and then there is a second balcony,
mented the new system. The unique shape of the room ruled quite high up. Interestingly, the vertically arrayed main APS
out the use of a line array, so for lead designer Bruno Muff, system covers both ground floor and first balcony, which really
it was appropriate to choose a point source approach for the helps to keep the focus on the stage, acoustically speaking.”
main hangs, out fills and delays. The APS platform enabled
the choice of different dispersion angles (including asymmet- ATK Versacom, Valencia, CA
rical), which lends it added flexibility in fitting the shape and
layout of the room. Faced with high content demand and strict safety protocols due
The finalized main system comprises four APS modules as to the pandemic, ATK Versacom set out to develop new tools
well as four SCV-F subwoofers, with an additional APS per side and techniques for remotely producing broadcast-worthy live
as out fill. Meanwhile, four HOPS5 handle delays, and six CUE4 events, with an RTS virtual intercom matrix at the heart of the
wedges support stage monitoring. Loudspeakers are driven by approach. Intercoms for large productions are an ATK Versacom
LINUS14D and LINUS-10C amplifiers.“On the ground floor, specialty, routinely handling hundreds of audio pathways via
people are basically sitting/standing 270 degrees around the RTS digital matrix systems and keypanels. But with talent and
stage, often under (a quite low) balcony,” Muff says. “The same crew in lockdown, a new tactic became necessary.

WORLD STAGE
“Needless to say, it got a little scary as we scrambled to figure

out how to generate some kind of revenue in this new world,”
says Jim Fay, ATK Versacom general manager. “That meant
finding the devices and applying technology so people could do
their jobs away from the set. Communication becomes even more
critical in that situation, and RTS VLink was the ideal solution.”
ATK Versacom technical development manager Juan Gallardo
partnered with Sean Prickett of Drop Ship Audio to develop
dedicated “flypacks” for remote production. They designed a
system of audio and computer gear, all pre-wired into a large
Pelican case. Software elements like the VLink intercom were
preprogrammed onto a tablet.
Specifically, they created the system to support the season
finale of a top TV singing competition. After a few lessons
learned and some insightful streamlining, they had a production
audio system that could produce live events in real time with
seamless communication. The show’s tech team expressed its
satisfaction with the VLink deployment. Further, Fay credits RTS
VLink with being a key element, noting that VLink essentially RTS VLink deployed by ATK Versacom at the 2020 Democratic
provides the same functionality as an RTS KP-5032 keypanel, National Convention broadcast hub.
enabling traditional intercom functionality without interfering
with talent performances.
OB Truck, Middle East
A Lawo 24-fader mc²36 console joined by two Lawo stage boxes

are at the heart of a new 4K OB truck that company partner
ARET Video & Audio Engineering has designed and built for
a Middle East customer that manages a culture-based televi-
sion channel in addition to various tourist, cultural and media
activities. The entity also plans to expand into the filming of
sporting events.
The van’s video workflow is complemented by an audio system
with connectivity exceeding standard analog and AES ports.
A fiber RAVENNA IP connection to two Lawo Compact I/O
stage boxes provide flexibility during remote productions and
reduces cabling infrastructure needed to send audio back to
the truck. The van’s mc²36 console interfaces directly with the
video router via MADI, giving router operators direct access
The Lawo mc²36 console installed in the new 4K OB truck de-
to all audio signals plus the audio signal processing toolbox signed by ARET Video & Audio Engineering.
offered by Lawo.
The Lawo mc²36 console’s integrated DSP Micro Core includes
a 512×512 routing matrix with up to 192 channels of audio Gabriella’s Italian Steakhouse, Red Bank, NJ
processing; onboard I/O includes 32 mic inputs with Lawo-grade
preamps, 32 line outputs, eight AES3 inputs and eight AES3 out- In a project headed up by company founder Jak Daragjati, Staten
puts, as well as GPIO, SFP MADI port, and 3 RAVENNA / AES67 Island-based Dara AV recently completed the installation of more
/ ST2110-30 ports. Each Lawo stagecbox provides an additional than 20 VUE Audiotechnik i-Class loudspeakers at this popular
32 mic/line inputs, 32 line outputs, eight AES3 inputs, eight New Jersey eatery. “Gabriella’s consists of a main dining hall
AES3 outputs, eight GPIO, a RAVENNA port, and a MADI port. and bar where the open ceiling height is about 12 feet,” explains
“We’re very proud of the result,” says Umberto Asti, vice Daragjati. “The goal was to provide a distributed audio system
president of ARET. “This project is one of the first, if not the very that would provide a great vibe with great coverage, yet not
first, full-12G UHD OB van in the Gulf area, and its workflow is overpower lunch and dinner conversations.”
proof that you can build a cost-efficient 4K OB van using 12G- He designed a distributed system that utilizes 18 i-2×4.5
SDI without compromising either signal quality or workflow.” full-range loudspeakers with a proprietary MTM driver layout

Inside Gabriella’s Italian Steakhouse in New Jersey, where Dara
AV recently installed a new distributed system with 23 VUE i-Class
loudspeakers.
One of the many spaces at the Canopy by Hilton Downtown in
designed to foster inconspicuous placements. They’re joined Arizona that’s receiving coverage via DAS Audio loudspeakers.
by five iS-12 compact subwoofers to bolster low-end response.
“We chose VUE Audio’s i-Class due to their construction outside the aforementioned garage doors, we placed two Q-23-T
quality, and sound which is far superior to anything in that loudspeakers with IP Kits for the outdoor patio dining area.”
size and price range,” Daragjati concludes. “We know we have Meanwhile, the display kitchen area has an optional private
a very pleased client when they’ve already called us in for the dining space covered by two more Q-10 subs and four Q-43-T
next restaurant they plan to open.” loudspeakers to match the room’s décor. In Alibi, a bar on the
14th floor providing a great view, there are six Q-23-T loud-
Canopy by Hilton Downtown, Tempe, AZ speakers that provide coverage right up to the bar, with two
Q-10 subs hidden behind the bare columns of the room. Addi-
Spanning 14 floors and offering several dining options, a gym, tional areas throughout the facility are handled with WR-8826
more than 3,000 square feet meeting space and a rooftop pool enclosures as well as more Q-43-T loudspeakers and Q-10 subs.
with a terrace bar, this recently opened hotel has been outfitted All loudspeakers are driven by DAS power amplifiers.
with an assortment of loudspeakers from DAS Audio. “Skinny”
Greg Gilman, who is involved in a range of music and sound Auburn Arena, Alabama
endeavors that includes work as a DJ and as an AV professional,
was contracted to manage the Canopy’s sound system instal- This 9,121-seat multi-purpose venue on the campus of Auburn
lation, working in conjunction with Oakland Park, FL-based University in Alabama was recently outfitted by Daktronics with
design/build firm TM Sound. a new sound reinforcement system incorporating a range of loud-
The venue’s overall design is intended to be flexible to accom- speakers from Fulcrum Acoustic. Specifically, Daktronics deployed
modate a wide range of activities in each area. To address this AH high-output coaxial horns
with the audio equipment, Gilman makes notes that, “all zones in vertically arrayed pairs to
can be tied to whatever activity is taking place because of the cover both the lower seating
sound system’s overall flexibility.” area and the middle section.
The hotel’s entrance is equipped with dual Quantum Q-43-T In addition, 26 CCX 12-inch
loudspeakers. “Due to installation limitations, we got creative coaxial cardioid loudspeakers
and installed them facing the building so they reflect in the with Fulcrum’s proprietary Pas-
high-rise entryway,” Gilman reports. “Just past the front desk sive Cardioid Technology are
is the lobby, which also doubles as the first restaurant/bar. distributed around the upper
This space was fitted with 10 white Ovi-12s suspended 14 feet seating areas to provide sup-
above the concrete floors and two feet from the ceiling, pro- plemental coverage.
viding equal coverage for Alter Ego (a restaurant and bar) and “ Without Passive Cardi-
Myrtle Corner (a lounge/waiting area) – without the undesired oid, the sound coming off the
reflections from a nearby large room with glass garage doors. back of the speaker will cover Fulcrum Acoustic AH loud-
We also managed to hide four Q-10 subs and tuned them so a greater area than what goes speakers delivering coverage
they wouldn’t disrupt guests calling or checking in. Further, just out the front, thereby degrading at Auburn Arena in Alabama.

WORLD STAGE
clarity and intelligibility,” says system designer Dave Sturzenbecher.

“Fulcrum’s cardioid products avoided leakage for the upper delays.”
Further, Prophile P 8-inch coaxial loudspeakers deliver cov-
erage to the last rows in the back of the main section. These
rows are shadowed from the main loudspeaker arrays by the
upper level of seating so supplemental coverage is required.
Finally, US221-4 direct radiating subwoofers are flown in two
closely coupled vertical arrays to provide wide low-frequency
dispersion. Each box has a slight delay added for steering low
frequency energy away from the ceiling.
Marist College, Poughkeepsie, NY
Prior to the start of classes in August, this college acquired and

A classroom at Marist College in New York equipped with an Au-
installed 150 Audio-Technica U851RO omnidirectional con-
dio-Technica U851RO omni condenser boundary microphone.
denser boundary microphones and 50 ATDM-0604 SmartMixers
to outfit 50 classrooms at the school with enhanced in-person
and distance learning capabilities in the time of the pandemic.
“We wanted to offer a learning experience as close to traditional
in-person classes, using a blended synchronous model in which the
teacher and half the class are live and the other half are remote,
while still conforming to all the New York State and Department
of Health requirements and staying within our budget,” explains
Lee Walis, manager of technical services at the college. “At first, I
thought we’d need a high microphone count in each room, at least
five in the smaller classrooms and a minimum of 10 in the larger
lecture halls, as well as multiple mixers per room to handle a variety One of the many spaces at the LKS Faculty of Medicine in Hong
of different processing needs. An additional design requirement is Kong receiving audio distribution and paging over IP via Xilica
to include a voice-lift feature because the instructors and students components.
would be wearing masks. It was going to be a complicated project
and the microphone costs alone were going to be substantial.” Xilica channel partner Sound Classy supplied all audio and
However, Walis began to look into the idea of using boundary control equipment, with systems integrator Vega Technology
mics and landed on the U851RO, which incorporates propri- handling installation and commissioning. The Dante-enabled
etary technology such as the UniSteep filter and UniGuard Solaro QR1 interoperates other networked devices to route
RFI-shielding, and also is equipped with self-contained elec- audio feeds around the building. A priority function allows staff
tronics, eliminating the need for an external power module. to interject with live announcements, using a paging station
Using one U851 attached to a classroom’s podium and two to provide safety and building information, event updates and
more attached on either side of a piece of Dibond aluminum/ security messages.
polyethylene composite sheeting hung near the classroom’s The Solaro QR1 DSP offers the ability to manage analog signals
ceiling-mounted projector, he was able to cover each room in on the output using Solaro XC-SLO modules, which will be used
full in terms of picking up instructor and student voices. for audio recording purposes in an adjacent control room. All
An ATDM-0604 SmartMixer is deployed in each of the 50 Xilica devices are powered over Ethernet to minimize cabling
classrooms, with Walis noting, “The processing is fantastic. We’re costs and infrastructure. The IP-based architecture synchronizes
not doing sound reinforcement for the room mics, so there’s no control across the XTouch 80 panel, installed in the adjacent
feedback, even as we’re picking up the softest voices in the room. control room; and an XTouch app that lives on an iPad in the
lobby. The two operate and respond in tandem.
LKS Faculty Of Medicine, Hong Kong “The open architecture of Xilica allows users to easily route
University Dante audio signals to the speaker system, and otherwise con-
trol volume, mute audio, and generally manage the system
Xilica components play a key role in recently implemented audio settings,” says Justin Fong, account manager at Sound Classy.
distribution and live paging over IP at this facility in a new system “The software is intuitive and responsive, which makes for a
that’s part of a larger renovation in the department’s William MW very simple and convenient operation for end users of any skill
Mong Block. Specifically, Xilica Solaro QR1 DSP and XTouch control level. The Solaro QR1 DSP keeps everything perfectly timed and
units process, manage and deliver all content over a Dante network. sounding intelligible throughout the day.” LSI

Road Test
AUDIX A150
Checking out recently
released studio reference
headphones.
by Michael Lawrence
T
he new Audix A150 studio reference headphones are
a dynamic, closed-back design with 50 mm drivers
containing Rare Early Alloy magnets. They come as part
of a new lineup of dynamic headphones from the company that
are designed for pro audio use – the A140 and A145 are home
studio models using 40 mm and 45 mm drivers, and the A152
that’s similar to the A150 as a “studio reference” model with Audix A150 studio reference headphones.
the exception of offering extended bass response.
The A150, which I recently evaluated, has a stated sensitivity thing I came up with was a far more expensive pair of open-back
of 103 dB SPL at 1 kHz and a stated impedance of 30 ohms. studio reference headphones used for spot-checking mixes at the
The set offers a cushioned top strap and plastic earcups with recording studio down the road from my house.
very comfortable cushions – more on that shortly. I’ve been wearing the A150 to do my podcast recording ses-
Connecting on the left side, the high-density cable has a nicely sions and Zoom classes, and it leaves me with less physical
braided covering that is lighter and feels a little more forgiving discomfort after an extended wear session compared to some
than a typical rubber-sheathed cable. The cable, almost 6 feet of the other models I’ve used for similar applications. The grip
in length (1.8 meters), is also detachable and doesn’t thread to of these headphones is a bit tighter than other models but I
connect. It simply pushes in and clicks into place, which will feel that is more than offset by the super-comfortable padding
be appreciated by anyone who has ever walked away from the that utilizes proprietary foam optimized for sound as well as
console forgetting that their headphones were plugged into it. comfort. So, yeah, they’re comfortable. And as a nice added
Not pointing any fingers, it’s a rite of passage. (OK, I’ll ‘fess up. benefit, the isolation is quite good, which makes them a solid
I fell victim to this classic blunder during a rehearsal and the choice for studio monitoring applications.
cable simply popped out, sparing me embarrassment and the Since I received the review unit, the A150 has been a nice
potential for damage.) go-to for mix checking, providing me with a more balanced pre-
The earcups swivel outwards to help the unit fold flat for sentation of the overall tone of a mix than some less expensive
storage, although my colleague (and Signal to Noise podcast models I’m used to, as well as my in-ear monitors. Nailing down
cohost Chris Leonard) has pointed out that he’d love for the the bass contour of a DAW mix, especially when working in
ability to pivot them inward as well, for easy muffling when he’s small rooms, is always a challenge, and I trust these headphones
mixing and wearing the headphones around his neck. Normally to deliver a solid representation of the lower frequency range.
I’d be concerned about the plastic swivel joints holding up to the Overall, the A150 offers a well-balanced sound and a high
rigors of the road, but the A150 comes with a semi-hardbody degree of comfort, and I would encourage anyone looking to
protective carrying case, which is a nice touch and makes me invest in a new pair of high-quality headphones for mixing and
feel confident about tossing them in a backpack or a Pelican monitoring tasks, or even recreational listening, to give this set
without any ill consequences. a look. And a listen. LSI
To my ear, the A150 presents a very balanced overall sound
free of the harsh 1 kHz range on some of my other pairs of head- U.S. MSRP: $309
phones, which translated into me being able to listen longer
without fatigue. This is furthered by the fact that the ear cushions Michael Lawrence is an independent front of house engineer and
are extremely comfortable – before writing this review, I spent system tech, and he’s also the technical editor of various pro audio
some time trying to remember if I’ve ever worn another pair of publications. Read more from Michael and reach him at precision-
headphones that was as comfortable of a fit for me. The only audioservices.com.

Real World Gear
RELIABLE, CONSISTENT & FLEXIBLE

Developments in 2-way This genre of loudspeakers has also ben-
efitted from advances in driver technol-
loudspeakers and a look at recent ogy, signal processing, and amplification.
Transducer innovations have in many cases
models. by Live Sound Staff trickled down from touring products. Many
have lightweight magnetic structures using
neodymium magnets, rugged cone and spi-
F
or decades, compact 2-way loud- umn arrays. Several offer a modified cabinet der materials, and robust voice coil designs.
speakers have been a pillar of pro- shape that also allows them to be placed on High-frequency horns are frequently
fessional audio, capable of serving their side and used as floor monitors. And rotatable and offer improved directiv-
as mains, monitors, side fills, center fills, speaking of cabinets, they’re constructed ity. Larger format compression drivers
near fills, front fills and delays. In many of ABS/polymers/plastics as well as wood. deliver greater power handling capacity.
cases they can be carried by a single person Increasingly, compact 2-way loudspeakers Several designs are coaxial, another trend
via convenient handles and quickly ground are offered in self-powered versions (usu- in this genre, along with incorporating
stacked, flown, or placed on a stand, where ally class D amplification) joined by digital 8- or 10-inch woofers as well as the tra-
they’re capable of handling reinforcement signal processing. Many are also outfitted ditional 12- and 15-inch models.
all by themselves or joined by subwoofers in with facilities for further tailoring output to Our tour of recent models that fol-
applications requiring additional low-end specific applications. Additional EQ control lows is intended, by design, to present
reinforcement. may be present, while others provide at the “state of the market” in terms of
Many of the enclosures are trapezoidal in least rudimentary mixing capability, with options. But for each type of model pre-
shape, with some able to be put into tightly level controls, mic/line switches, and EQ on sented here, understand that there are
packed horizontal arrays and others better XLR or combo (XLR, 1/4-inch) inputs. More several similar models from the same
suited for “exploded” clusters. Still others models will accept (Audinate) Dante digital and other sources, so further homework
can be stacked or flown into line and/or col- audio input along with analog audio signal. is strongly recommended. LSI
Adamson CS10P d&b audiotechnik E12 RCF HDM 45-A

adamsonsystems.com dbaudio.com rcf.it
Dispersion (h x v): 70 x Dispersion: 80 or 110 x 50 Dispersion: 90 x 60

40 or 100 x 50 degrees degrees (h x v), rotatable degrees (h x v)
Components: NH3 3-in- Components: 1.3-in Components:
diaphragm compres- neodymium compression 1.4-in (4-in voice
sion driver, 2 x ND10-LM driver, 12-in neodymium coil) neodymium
10-in Kevlar neodymi- cone driver compression driver,
um cone drivers Frequency Response: 50 15-in neodymium cone
Frequency Response: Hz – 18 kHz driver
60 Hz – 18 kHz Maximum SPL (peak): Frequency Response:
Maximum SPL (peak): 134 dB 45 Hz – 20 kHz
139 dB Power Handling: 300/1,600 watts Maximum SPL (peak): 133 dB
Power Handling: Accompanying power/ (RMS/peak); several d&b amplifiers Power Handling: Onboard class D
DSP package includes 2-channel class D recommended amplifier provides 1,600 watts LF, 600
with 2,400 watts total output Connectors: Dual NLT4; optional 2 x EP5 watts HF (both peak)
Connectors: 2 x etherCON analog, 2 x XLR, or 2 x NL4 Connectors: PowerCon I/O
powerCON TRUE1 network
Positioning/Rigging: Pole mount, M10 Positioning/Rigging: 4 M10 threaded
Positioning/Rigging: Pole mount and
threaded inserts, range of accessories inserts, pole mount
integrated rigging system
Dimensions (h x w x d): 22.8 x 13.8 x 13.2 Dimensions (h x w x d): 28.1 x 17.4 x 15.6 in
Dimensions (h x w x d): 29.3 x 12.8 x 17.5 in
in Weight: 48.5 lbs
Weight: 66.2 lbs
Weight: 35 lbs Notes: Includes FiRPHASE (advanced FIR
Notes: Employs redundant MILAN
Notes: Amplifiers with DSP provide filtering), a proprietary approach that
scheme with ability to daisy-chain net-
comprehensive management and more minimizes phase distortion

REAL WORLD GEAR
RWG Spotlight Listing
L-Acoustics X Series | l-acoustics.com KEY SPECS: X12
The X Series comprises four coaxial enclosures with Dispersion (h x v): 60 x 90
distinct formats, bandwidth, SPL and coverage angles degrees, ellipsoidal
adapted to a range of applications in rental and in-
Components:
stall applications. With studio monitor sound quality,
3-in
the X Series conveys a natural and transparent sound.
neodymium
Coaxial technology allows for a compact design and
compression
constant tonal balance over distance.
driver, 12-in
The X12 utilizes a 3-inch-diaphragm compression
neodymium
driver coaxially loaded by a 12-inch low-frequency
cone driver
transducer in a bass-reflex cabinet. The L-Vents lami-
nar vented ports reduce turbulence and port noise at high levels to increase LF efficien- Frequency
cy. The coaxial transducer arrangement and its ellipsoid acoustic design produce a 90- x Response:
60-degree directivity pattern with a smooth tonal response free of secondary lobes over 59 Hz – 20 kHz
the entire frequency range. Maximum SPL (peak): 136 dB
Further, the X12 can be pole-mounted using the integrated socket, wall-mounted, Power Handling: Controlled
ceiling-mounted or flown, supported by a complete range of rigging accessories that of- and amplified by LA4X/LA8
fer multiple set-up options and various orientations. It also provides a stage monitoring Connectors: SpeakON (Both
angle setting of 35 degrees with regard to vertical or 55 degrees due to its built-in risers. IN and LINK)
Positioning/Rigging: Pole
TECHNOLOGY FOCUS: The internal passive crossover network uses custom filters. The mount, M10 threaded inserts,
L-Acoustics amplified controllers L-Drive parameters ensure the linearization and wide range of mounting
protection of the transducers. accessories available
Dimensions (h x w x d): 19.5 x
OF NOTE: Ergonomic handles provide a solid grip and efficient handling, while an 16.9 x 14.8 in
optional white or RAL color program can help it can melt into any architecture. Weight: 44.1 lbs
Martin Audio CDD-LIVE 12 Alcons Audio VR12 Yamaha DXR12mkII

martin-audio.com alconsaudio.com usa.yamaha.com
Dispersion (h x v): Dispersion: 90 x 40 Dispersion: 90 x 60

60 x 60 degrees degrees, “revolv- degrees
mid-field, 110 able” Components: 1.75-in
degrees horizontal (diaphragm) neo-
Components:
near-field dymium compression
RBN601 pro-ribbon
Components: 1.7-in driver, 12-in (2.5-in
driver, 12-in cone
polyimide dome voice coil) ferrite cone
driver
compression driver driver
Frequency Re- Frequency Response:
(coaxial design),
sponse: 60 Hz — 20 52 Hz – 20 kHz
12-in cone driver
kHz
Frequency Response: 62 Hz — 20 kHz Maximum SPL (peak):
Maximum SPL (peak): 132 dB 134 dB
Maximum SPL (peak): 128 dB
Power Handling: 1,500 watts (peak) Power Handling: Self-powered – 1,100
Amplification: Onboard, 1,250 watts
watts LF, 150 watts HF (peak)
(continuous), biamped Connectors: Neutrik Speakon
Connectors: 3 x XLR (parallel), dual RCA,
Connectors: XLR input and output; dual Positioning/Rigging: Flytrack, mounting
dual phone
Dante-enabled Neutrik Ethercon points, pole-mount, swivel bracket option
Positioning/Rigging: Pole mount (2 posi-
Positioning/Rigging: Suspension points; Dimensions (h x v x d): 26.5 x 13.8 x 13.6 in tions), M10 threaded inserts, eyebolts
pole-mount Dimensions (h x d x w): 23.7 x 14.2 x 13.8
Weight: 39.6 lbs
Dimensions (h x w x d): 22.8 x 14.1 x 14.7 in in
Notes: Use with company’s ALC amplifier/
Weight: 61.6 lbs controllers recommended; 60-degree Weight: 41 lbs
Notes: 8 and 15-in versions available plus (h) version also available and it too is Notes: Equipped with proprietary ad-
single and dual 18-in subs revolvable; 7-inch version offered as well vanced DSP functions

QSC CP SERIES | qsc.com KEY SPECS: CP12
High performance, superior quality and Dispersion: 75 degrees
lasting reliability. These are the hallmarks axisymetric
of the QSC brand and the reason why mil- Components: 1.4-in compression
lions of professionals the world-over have driver, 12-in
come to trust QSC to help them confidently cone driver
deliver superior experiences and memora-
Frequency
ble performances.
Response:
The CP Series follows in that same
49 Hz – 20 kHz
tradition while also offering an ultra-com-
Maximum SPL
pact form factor and class-leading value.
(peak): 126 dB
Inside, CP is equipped with a highly effi-
Power
cient, 1000-watt power amplifier, matching
Handling:
transducers and advanced DSP, delivering
Onboard
performance beyond expectations for a loudspeaker of this size.
amplifier provides 800 watts LF,
Because of its compact size, CP is remarkably lightweight, making it easy to load,
200 watts HF (both peak)
carry, lift and deploy in a wide range of portable and installed applications. CP Series
compact powered loudspeakers are protected by a global 6-year warranty. Connectors: Dual XLR-1/4-in
combo (mic/line input and hi-z/
line input), 3.5 mm TRS (stereo
TECHNOLOGY FOCUS: Six selectable application-based EQ contour presets; input), and XLR/M (mix output)
proprietary Directivity Matched Transition (DMT) designed to provide consistent Positioning/Rigging: 2x M8
frequency response across the entire coverage area. threaded insert (for yoke mount
attachment only)
OF NOTE: QSC recently introduced the ultra-compact KS112 subwoofer, incorpo- Dimensions (h x w x d): 20.3 x 13.8
rating a 12-inch long-excursion woofer driven by a 2,000-watt class D amplifier x 12.7 in
module. Weight: 30.3 lbs
dBTechnologies VIO X12 Electro-Voice MFX-12MC Meyer Sound ULTRA-X20

dbtechnologies.com electrovoice.com meyersound.com
americanmusicandsound.com
Dispersion (h x v): Dispersion (h x v): 110 x
Dispersion: 60 x 40 60 x 40 (mains), 40 x 50 (rotatable)
degrees, rotatable 60 degrees (mon- Components: 2-in
itor) diaphragm compression
Components: 1.4-in
Components: 3-in driver and 2 x 5-in cone
(2.5-in voice coil)
voice coil compres- drivers
neodymium com-
sion driver with Frequency Response:
pression driver, 12-in
12-in cone driver 60 Hz – 18 kHz
neodymium cone
Frequency Re- Maximum SPL (peak):
driver
sponse: 62 Hz – 18 127 dB with 20 dB crest factor (M-noise)
Frequency Response: kHz Power Handling: Onboard 3-channel,
62 Hz – 22 kHz Maximum SPL (peak): 135 dB 860-watt (peak) class D amplifier
Maximum SPL (peak): 132 dB Power Handling: 3,000 watts peak, Dyna- Connectors: XLR 3-pin female input with
cord TGX or IPX amplifiers recommended male loop output; optional XLR 5-pin
Power Handling: Self-powered – 900
Connectors: Neutrik NL4 input with NL4 connector for both balanced audio and
watts (RMS) class-D Digipro G3 amplifier
pass-thru RMS signals
Connectors: Dual XLR, USB data service Positioning/Rigging: Pole mount and 4 x Positioning/Rigging: 4 x M6 points, op-
Positioning/Rigging: Pole mount, 12 x M10 points tional accessories include 35 mm-to-M8
M10 inserts, 4 x fast lock pins Dimensions (h x w x d): 19.7 x 16.5 x 11.7 in pole adapter, U-bracket, yoke, and a
Weight: 41.9 lbs pinnable link
Dimensions (h x d x w): 25.5 x 13.4 x 17.5 in
Notes: 35- and 55-degree monitor angles, Dimensions (h x w x d): 19 x 7.44 x 8.7 in
Weight: 45.6 lbs constant directivity waveguide has Weight: 27 lbs
Notes: 10-in and 15-in versions also narrower pattern when horizontal as Notes: Rotatable horn offered in three
available plus the dual 5-in VIO X205 monitor and wider when vertical Constant-Q variants

REAL WORLD GEAR
K-array Domino Series | k-array.com KEY SPECS: KF210
K-array’s full-range Domino line of compact Dispersion (h x v): 90 x 90
loudspeakers are housed in stainless steel degrees
compact speakers with plug-and-play Components:
capabilities that don’t require presets. They 3-in
can be driven by any amplifier, making compression
them a great choice for a diverse range of driver, 2
applications. x 10-in
The line consists of the KF26, KF210 neodymium
and KF212, all loaded with dual neodym- cones
ium magnet drivers coaxially mounted Frequency
plus a passive radiator to extend bass Response: 40
response further into the lower end fre- Hz – 19 kHz
quencies. Further, all models have selectable impedance as well as wide horizontal and Maximum SPL (peak): 123 dB
vertical coverage.
Power Handling: 320
The Domino line is accompanied by several product-specific accessories that can
watts (Kommander-KA14,
enhance setup. Wall brackets are included, while other useful tools are also available, such
KA24 and KA84 amplifiers
as a flush-mount recessing frame to facilitate wall insets to conceal the loudspeakers.
recommended)
Connectors: 4-pin Euroblock
TECHNOLOGY FOCUS: Designed as a passive loudspeaker, the smallest of the trio, the Positioning/Rigging:
KF26, can be transformed into a self-powered model simply by inserting the KA1-FF Wall brackets included,
amplifier accessory. wide range of mounting
accessories offered
OF NOTE: The Domino line can be customized with a 24K gold-plated finish as well Dimensions (h x w x d): 19.7 x
as brushed or polished stainless steel, while standard colors include sleek black and 11.1 x 5.9 in
elegant white. Weight: 26.5 lbs
Coda Audio G515-96 Renkus-Heinz T82 NEXO P10

codaaudio.com renkus-heinz.com nexo-sa.com
Dispersion: 90 x 60 Dispersion (h x v): 120 Dispersion (h x v):

degrees (rotatable) x 60 and 90 x 60 de- 100 x 100 (default)
grees (both rotatable) or 110 x 60 degrees
Components: 1.75-in
Components: 1-in (with optional horn)
voice coil compres-
compression driver, Components: 1.7-in
sion driver, 15-in
2 x 8-in cone drivers diaphragm compres-
cone driver
Frequency Response: sion driver coaxial
Frequency Re- 90 Hz — 20 kHz with 10-in neodymi-
sponse: 50 Hz — 21 Maximum SPL (peak): um cone driver
kHz 134 dB Frequency Response: 63 Hz – 20 kHz
Maximum SPL Amplification: On-
(peak): 132 dB board (SA625 amplifier)
Power Handling: NXAMP4x1mk2 with
Connectors: Neutrik Speakon and other
Amplification: Coda LINUS DSP + Amplifi- TDcontroller recommended
options offered
cation recommended (600 watts peak) Connectors: 4 x NL4
Positioning/Rigging: M6 and M10 sus-
Connectors: Dual Neutrik NL4MP pension points, U-bracket attachment Positioning/Rigging: Pole mount, 1 x
points universal accessory fit on each side plus
Positioning/Rigging: Flypoints, pole-
Dimensions (h x w x d): 28.2 x 10.5 x 10.5 1 x on the bottom
mount (optional U-brackets and wall-
mount also available) in Dimensions (h x w x d): 19.6 x 15.2 x 10.8 in
Weight: 34 lbs Weight: 33 lbs
Dimensions (h x v x d): 27.5 x 16.5 x 14.6 in
Notes: Incorporates proprietary Complex Notes: Cabinet includes wedge angle; 2
Weight: 38.6 lbs Conic Horn design; passive version avail- x handles on each side touring version
Notes: Also available in 12-in version; 15 able; single/dual 6.5-in, single 8-in, 12-in only) hold pole stand adapter and Spea-
and 18-in subs offered and 15-in models also offered kon connector for discrete connection

1 SOUND Panorama MS34 | 1-sound.com
The Panorama MS34 is a two-channel point
source loudspeaker system featuring MONO
+ STEREO loudspeaker technology. It’s a true
game-changer for under balcony, front fill
and distributed stereo system applications.
Utilizing the accompanying MS CON- KEY SPECS: MS34
TROLLER, the LR (stereo) signal is split into Dispersion (h x v): 100
mono (mid) plus stereo (sides). The MS34 degrees conical
then decodes this signal, sending the mono Components: 4-in coaxial
signal to the middle speaker and the de- w/1-in compression driver, 2
rived left and right stereo signal to the left x 4-in cones, 2 x 3.5-in cones
and right transducers. All listeners in the (rear mounted)
sound field will hear a discrete, phase co- Frequency Response: 95 Hz
herent mono signal surrounded by stereo. – 18 kHz
The MS34 employs a center 4-inch Maximum SPL (peak): 114 dB
cone driver with a coaxially mounted 1-inch compression driver joined by two 4-inch Power Handling: 90 + 90
full-range cones for left and right. Two rear mounted 3.5-inch passive radiators extend watts AES / 180 + 180 watts
low-frequency response. continuous at 16 ohms
Connectors: 2 x NL4
Positioning/Rigging: Two M6
TECHNOLOGY FOCUS: A M+S/Mono switch transforms the MS34 into a mono line points, U-bracket for wall,
source (vertical or horizontal) with 5 dB more output than M+S mode. truss, mic stand, ceiling
mounting
OF NOTE: The MS34 is IP55 rated weatherproof construction for operation in harsh Dimensions (h x w x d): 13.5 x
outdoor environments. The steerable CSUB210 subwoofer extends low-frequency 5.5 x 7.5 in
response down to 35 Hz. Weight: 9.4 lbs
Clair Brothers kiT12+ DAS Audio Artec 510A PreSonus AIR Series AIR12
clairbrothers.com dasaudio.com presonus.com
Dispersion: 110 x 50 Dispersion (h x v):

Dispersion: 90 x
degrees 90 x 60 degrees
40 and 60 x 40
degrees, both Components: Components: 1.35-in
rotatable 1-in-exit compres- compression driver,
sion driver, 10-in 12-in cone driver
Components: 3-in cone driver
voice coil com- Frequency Re-
Frequency Re- sponse: 60 Hz — 20
pression driver,
sponse: 55 Hz — 20 kHz
12-in cone driver
kHz Maximum SPL
Frequency Response: 63 Hz — 20 kHz Maximum SPL (peak): 131 dB
Maximum SPL (peak): 129 dB (peak): 128 dB Amplification: Onboard (1200 watts total,
Amplification: Onboard (720/320 watts biamped)
Amplification: Onboard 2-channel amp,
peak, biamplified) Connectors: 2 x XLR/TRS combo, 1/8-in
3,200 watts (maximum), biamped
Connectors: XLR (input and loop thru) TRS stereo, XLR Mix output
Connectors: Dual XLR (input and thru)
Positioning/Rigging: Integrated rigging Positioning/Rigging: Suspension points;
Positioning/Rigging: kiT rigging slots on points for 10M eyebolts and U bracket dual position pole-mount (0 and 7.5
corners, pole-mount Dimensions (h x w x d): 23.8 x 11.4 x 13.6 degrees)
in Dimensions (h x w x d): 16.9 x 16.5 x 27.6 in
Dimensions (h x v x d): 28.1 x 14.8 x 15.2 in
Weight: 28.7 lbs Weight: 37.5 lbs
Weight: 62 lbs
Notes: Single/dual 6 and 8-in versions Notes: Several presets to customize re-
Notes: 15-in version also available plus available plus 15-in sub; all models also sponse for mains; stage monitoring cabi-
two 18-in subs; passive models available offered in passive versions net angle and monitor response preset

REAL WORLD GEAR
QSC K.2 Series | qsc.com KEY SPECS: K12.2
The K.2 Series is the next generation of Dispersion: 75 degrees
the company’s K Family line of powered axisymetric
loudspeakers. It’s comprised of the Components:
8-inch K8.2, 10-inch K10.2 and 12-inch
1.4-in titanium
K12.2 full-range loudspeakers equipped
compression
with a 2,000-watt power module carefully
matched to woofers and compression driver, 12-in cone
drivers. driver
Proprietary DMT (Directivity-Matched Transition) ensures smooth coverage Frequency
across the entire listening area, while onboard DSP provides Intrinsic Correction Response:
voicing and advanced system management to further optimize performance. A 45 Hz – 20 kHz
library of preset contours is provided for applications such as stage monitor, dance Maximum SPL (peak): 132 dB
music, instrument amplification, handheld microphone and more. Power Handling: Onboard
All three models can be operated as either main PA or as a floor monitor. amplifier provides 1,800 watts LF,
Each model can also be flown, wall- or truss-mounted, or placed on a pole, either 225 watts HF (both peak)
straight-firing or with a 7.5-degree down-tilt utilizing the new dual pole cup. Connectors: Dual XLR-1/4-in
combo (mic/line input and hi-z/
line input), 3.5 mm TRS (stereo
input), dual XLR/M (loop-thru
TECHNOLOGY FOCUS: Storable scenes recall user-configurable settings such as
output), and XLR/M (mix output)
input type, delay, EQ, cross-over and selected contour via the loudspeakers’ LCD
screen and control panel. Positioning/Rigging: Dual 2 M10
threaded inserts plus pull-back,
OF NOTE: QSC also just introduced the KS118 subwoofer, incorporating an 18-inch 2-position pole mount
long-excursion woofer driven by a 3,600-watt class D amplifier module. It can be Dimensions (h x w x d): 23.7 x 14
run in omnidirectional or cardioid direct radiation modes. (For more see Road Test x 13.8 in
on page 40 of this issue.) Weight: 39 lbs
TW Audio M12 Ramsdell Pro Audio FBT VENTIS 112A

twaudio.de 15-X-SS Champion fbtusa.com
ramsdellproaudio.com
Dispersion (h x v): Dispersion (h x v):
70 x 50 degrees, Dispersion (h x v): 80 x 50 degrees
rotatable 60 x 40 and 90 x 40 (rotatable)
degrees available Components: 1.4-in
Components: 1.4-in
(both rotatable) voice coil
compression driver,
Components: 2-in compression driver, 1
12-in cone driver
compression driver, x 12-in cone driver
Frequency Re-
1 x 15-in cone driver Frequency Re-
sponse: 60 Hz — 19
Frequency Re- sponse: 48 Hz — 20
kHz
sponse: 45 Hz — 20 kHz
Maximum SPL kHz Maximum SPL
(peak): 132 dB Maximum SPL (peak): 133 dB
Power Handling: 700 watts program, 1400 (peak): 130 dB Amplification: Onboard (700 watts LF, 200
watts peak Power Handling: 1200 watts LF, 150 watts watts HF, RMS); DSP
Connectors: Neutrik NL4 HF (both program) Connectors: XLR/Jack combo (input),
Connectors: Neutrik NL4 XLR-M (output)
Positioning/Rigging: Pole-mount, mount-
Positioning/Rigging: Pole-mount, rigging Positioning/Rigging: M10 suspension
ing points
points points
Dimensions (h x w x d): 23.8 x 14.2 x 12.4
Dimensions (h x w x d): 33 x 17 x 19 in Dimensions (h x w x d): 25.6 x 15.2 x 15 in
in
Weight: 79 lbs Weight: 45.4 lbs
Weight: 44.8 lbs Notes: Available in active and passive Notes: Also available in passive version;
Notes: Offers stage monitor angle; 6, 8, 10 versions; vented 4th-order enclosure; cabinet includes monitor angle; 10 and
and 15-inch versions also available, plus neodymium components; 12-in version 12-in versions also offered; DSP offers 6
subwoofers also offered presets plus 2 user-configurable

Pioneer Pro Audio XPRS Series | pioneerproaudio.com KEY SPECS: XPRS10
Combining Pioneer Pro Audio sound engineering heri- Dispersion (h x v): 90 x 60
tage with the reliable, energy-efficient power of Power- degrees
soft amplification, the compact, portable wooden-en-
Components:
closure XPRS Series offers a plug-and-play system
1.75-in
that fills the room with a natural sound. The versatile
neodymium
speakers are ideal for live sound as well as mobile DJ,
compression
houses of worship, rental and fixed installations.
driver, 10-in
The XPRS10 full-range loudspeaker incorporates a 10-inch cone driver, a 1.75-inch ti-
ferrite cone
tanium diaphragm compression driver and Pioneer Pro Audio’s AFAST technology, all com-
Frequency
bining to deliver clear, clean audio with a deep bass range. Plus, output can be enhanced
Response:
further using the four EQ modes with built-in DSP.
55 Hz – 20 kHz
The onboard Powersoft class D amplification delivers 2,400 watts to the transducers,
utilizing Power Factor Correction (PFC) to help provide energy efficiency and reliable perfor-
mance. Extra attention has been paid to protecting the components, with thermal limiting, Power Handling: Powersoft
input limiter, DC offset removal, AC mains protection and more. The auto-ranging power amplification onboard, 2,400
supply detects and adapts to the voltage without compromising the sound quality, making watts peak
the XPRS Series a reliable performer in any environment. Connectors: Input – 2 x
XLR/TRS combo (balanced),
2 x RCA; Output – 2 x XLR
TECHNOLOGY FOCUS: Proprietary AFAST technology drastically reduces standing waves (balanced) plus mixed
that can produce a muffled response in the low to mid ranges. An acoustic tube in the output XLR (balanced)
cabinet absorbs only the standing waves, increasing the low frequency response. Positioning/Rigging: 35 mm
pole mount, 12 M10 points
OF NOTE: Four EQ modes are selectable via a rotary switch on the back of the XPRS10, Dimensions (h x w x d): 20.5
including flat, bass-plus, speech and wedge. In addition, the cabinet’s wedge shape x 12.6 x 14.7 in
and pole mount socket with tilt offers a choice of three positions. Weight: 41.6 lbs
Fulcrum Acoustic FH15 Verity Audio MUSE 12 VUE audiotechnik h-12

fulcrum-acoustic.com verityaudio.fr vueaudio.com
Dispersion: 60 x Dispersion: 90 x 60 Dispersion: 100 x

45 degrees and degrees, rotatable 50 (W version) or
90 x 60 degrees 60 x 40 (N version)
Components: 1.4-in
available degrees
voice coil ferrite
Components: 4-in
Components: compression driver,
voice coil compres-
4-in titanium 12-in cone driver sion driver, 12-in
diaphragm com-
Frequency cone driver
pression driver,
Response: 50 Hz – Frequency Re-
15-in cone driver
20 kHz sponse: 55 Hz — 21
(coaxial)
Maximum SPL kHz
Frequency Response: 54 Hz – 20 kHz
(peak): 127 dB Maximum SPL (peak): 135 dB
Maximum SPL (peak): 143 dB Amplification: Onboard (2400 watts peak,
Power Handling: 700 watts (program),
Power Handling: 800 watts (AES) active and passive versions available biamplified)
Connectors: 2 x Neutrik Speakon, option- Connectors: Dual NL4, active version also Connectors: XLR (input and loop output)
al terminal strip inputs offers mic/line inputs plus line output for both analog input and AES EBU digital
input
Positioning/Rigging: 12 x M10 mounting Positioning/Rigging: 20 M8 flypoints
Positioning/Rigging: Suspension points,
points, 1 x M10 pull-back point, 2 x M12
Dimensions (h x v x d): 25.2 x 17.7 x 15.1 in pole-mount
yoke points
Weight: 44.7 lbs Dimensions (h x v x d): 24 x 14.5 x 15.2 in
Dimensions (h x v x d): 29.9 x 30 x 28 in
Notes: Proprietary vent designed for Weight: 78 lbs
Weight: 107 lbs deepter LF performance when placed Notes: Dual 5-in, single 8 and 15-in ver-
Notes: Proprietary Temporal Equalization close to a wall sions also available, plus several subs

Loading Dock PRODUCTS FRESH OFF THE TRUCK
Bose Professional L1 Pro

A series of portable line array PA systems
comprised of the L1 Pro8, L1 Pro16, and L1
Pro32, joined by a choice of two subwoofers.
A unique RaceTrack woofer design integrated
into the L1 Pro8 and L1 Pro16 as well as the
Sub1 and Sub2 subs is intended to provide
extended bass response and less bulk for
easier transport, carry, and fit onstage. Built-
Lectrosonics DCR822 in multi-channel mixers offer EQ, reverb and phantom power. Also included
A dual-channel portable digital receiver that’s are Bluetooth streaming capabilities and access to a library of ToneMatch
compatible with all the company’s current mono custom EQ presets. The L1 Pro8 is designed for intimate spaces, while the L1
and stereo digital transmitters and backward com- Pro16 is built to serve small-to-medium applications and the L1 Pro32 is for
patible with any Digital Hybrid Wireless transmit- larger audiences. All systems have two combo XLR-1/4-inch phantom-powered
ters made in the past 18 years. It tunes across 144 inputs as well as 1/4-inch and 1/8-inch (3.5 mm) aux inputs. Illuminated rota-
MHz (A1B1 version) or 155 MHz (B1C1 version) and ry encoders provide access to volume, tone and reverb settings per channel.
offers more than 6,000 frequency choices. Settings L1 Pro systems are complimented by the L1 Mix app for wireless control.
can be made from the front panel with tactile pro.bose.com
buttons and high-resolution LCD interface. An RF
spectrum analyzer and SmartTune are onboard QSC NV-32-H (Core Capable)
to help alleviate interference problems. Two-way This native network video endpoint
IR sync is designed to quicken the setting up of for the Q-SYS Ecosystem now al-
matching transmitters. The new receiver includes lows users to toggle between “Core
a USB jack on the back panel for connectivity with Mode” and the existing “Peripheral
Wireless Designer software for frequency coordi- Mode.” Core Mode offers an audio
nation and system monitoring. The unit is pow- processing engine that includes 32
ered by four AA Lithium batteries or external DC. x 32 network audio channels, eight
A microSD card slot facilitates data transfer. Audio AEC channels, one VoIP softphone instance, and optional support for soft-
outputs are via two locking TA3M connectors, with ware-based Dante. It also provides software-based control engine allowing for
either analog mic/line level or AES3 digital out- control integration for native Q-SYS devices as well as third-party connected
puts selectable in the menu. lectrosonics.com devices. Peripheral Mode toggles the device into a multi-stream network
video endpoint for HDMI video encoding/decoding for video distribution.
In either mode, the unit is designed to offer simplified integration for web
conferencing applications such as Microsoft Teams Rooms, Zoom and Google
Hangouts. qsc.com
Shure DuraPlex
A subminiature (5 mm) omnidirec-
tional lavalier and headset micro-
phone that carries the company’s first
Waves Audio WSG-HY128 IP57 certification rating to resist the
A new card for HY slots that makes it possible to negative impact of dirt, dust, water,
run Waves plugins on Yamaha RIVAGE PM Series and perspiration. DuraPlex, consisting
consoles at low latency. Together with a Sound- of the DL4 omni lav and DH5 omni
Grid DSP server, a Mac or PC, and Waves plugins, headset, utilizes the same 1.6 mm
the WSG-HY128 can process up to 128 channels cable as the TwinPlex line of lavalier
of audio at 44.1, 48, 88.2 and 96 kHz using Waves and headset mics. The MEMs element is designed to yield consistent and neu-
reverbs, equalizers, compressors, limiters, delays tral sound quality with low self-noise for vocal clarity. The mic comes a car-
and more. Users can also assign additional Sound- rying case, snap-fit and foam windscreens, single tie clip, and a presence cap.
Grid I/O devices to a network. Multiple console The DL4 also comes packaged with a sticky mount. DH5 headsets are offered
synchronization and digital splits are supported in multiple colors (tan, cocoa and black) with a brushed steel frame, while DL4
using clock Sync over Ethernet (SoE). waves.com lavs are available in four colors (black, tan, cocoa and white). shure.com

L-Acoustics Contour XO
The company and JH Audio have com-
bined the expertise of their R&D teams to
reproduce the L-Acoustics sonic signature
frequency contour in new universal in-
ear monitors (IEMs). The limited-edition
Contour XO IEMs incorporate 10 balanced
armature drivers and a three-way cross-
over in a quad low, dual mid, and quad
high configuration. Control of the low end
is provided with bass adjustment of up to
Dynacord SONICUE 15 dB above flat response. The develop-
Presets from several third-party manufacturers
ment of Contour XO also supports the upcoming release of new L-ISA binaural
are now available for use with Dynacord electron-
object-based mixing software tools currently in beta testing. l-acoustics.com
ics via SONICUE system software. The additions
expand the lineup of third-party loudspeaker op-
tions for integration into the SONICUE ecosystem
along with Dynacord’s range of hardware, which
JBL IRX115S
A powered subwoofer that’s
includes TGX, IPX, L and C series power amplifi-
the latest member of the
ers as well as the new MXE5 matrix mix engine.
company’s IRX Series is
The new presets are designed to reproduce the
equipped with custom driver
original manufacturer settings, with professional,
and amplifier designs housed
sample-independent listening and testing execut-
in a tuned, ported enclosure
ed to verify accuracy.
with built-in crossover and
A list of brands and loudspeaker setting
polarity settings. The IRX115S employs a 15-inch woofer with 3-inch voice
databases is available at the company website.
coil and has a stated frequency range of 35 Hz to 147 Hz (-10 dB) with stated
dynacord.com
maximum SPL of 128 dB. The onboard power amplifier, rated to deliver up to
1,300 watts, is also designed to protect the components in supporting a high
level of acoustic performance. Selectable 80 Hz, 100 Hz and 120 Hz crossover
points are intended to help smooth out system response, especially when
used with IRX Series loudspeakers. A tuned port in the enclosure is designed
to optimize response and reduce woofer noise. Settings are provided to adjust
crossover and polarity to optimize system response to the specific space and
application. jblpro.com
Lavoce Italiana DN14.300T

A1.4-inch-exit neodymium compression drive joining the company’s Next Gen-
eration series of transducers.
Meyer Sound Spacemap Go It incorporates patented
A free app for iPad at the Apple App Store that’s Integral Input Surface phase
designed to transform the company’s GALAXY Net- plug technology and offers a
work Platform processors in the field into flexible high flux density driver with
tools for spatial sound design and mixing. The app low distortion and highly lin-
works with multiple GALAXY processors and can be ear frequency response to 20
controlled by a single iPad or with multiple iPads kHz. The driver has a 3-inch
to provide a larger and more varied control sur- edgewound copper-clad alu-
face, or to allow simultaneous control by multiple minum voice coil and a one-
users. Spacemap Go can be implemented with a piece titanium diaphragm
free update to GALAXY firmware and Compass con- and surround. Diameter is 5.1
trol software. Users with existing GALAXY inventory inches (130 mm) and depth is 2 inches (51 mm), while weight is 4.6 pounds (2.1
need only supply one or more iPads as appropri- kg). It carries a stated 110-watt AES power rating and 109 dB sensitivity, with a
ate for the application. meyersound.com 1,200 Hz recommended crossover point. lavocespeakers.com

LOADING DOCK
DirectOut EXBOX.RAV
A converter to migrate baseband audio to IP that runs on the company’s
RAVENNA (AES67, ST 2110-30/31) implementation and supports NMOS for
stream discovery (IS-04) and connec-
tion management (IS-05). Four gigabit
ports with an internal switch and
PoE, and three MADI ports in BNC, SC
and SFP format offer bidirectional
conversion and routing of 64 audio
channels. DirectOut has also intro-
DPA Microphones 6000 duced DANTE.SRC.IO (Dante) and RAV.SRC.IO (RAVENNA) audio network mod-
Series CORE ules for the PRODIGY Series equipped with sample rate converters. They’re
are equipped with FPGA-based SRCs and enable asynchronous operation
The additional accessories for the company’s
between the modules and the PRODIGY mainframe, independently from the
6000 Series CORE series of subminiature lavalier
configured reference clock of the device. directout.eu
microphones includes an eight-way single/double
clip and a paintable cap. The eight positions in the
360-degree clip are selectable in 45-degree incre-
ments. This makes it possible to securely clip the
PreSonus AVB-D16
A 16 x 16 AVB-to-Dante
mic on both left- and right-button shirts as well
bridge designed to send
as the necklines of T-shirts and blouses. Used in
and receive up to 16 audio
place of the standard 6000 Series grid, the paint-
channels between the
able cap can be painted or covered in makeup
company’s StudioLive Se-
to foster added visual creativity in both film and
ries III mixers and a Dante
theatre productions. dpamicrophones.com
network. With one or more
AVB-D16s, users can integrate StudioLive Series III mixers, NSB-series stage
boxes, and EarMix 16M personal monitor mixers with Dante-enabled DSPs and
other Dante-enabled products, such as PreSonus CDL-12 constant directivity
loudspeakers. The AVB-D16 supports AVB audio at 44.1 and 48 kHz and Dante
audio at 44.1, 48, 88.2, and 96 kHz. Built-in asynchronous sample-rate conver-
sion is designed to ensure that the AVB-D16 provides precise clock isolation
between the AVB and Dante networks to foster clear audio with no dropouts
or artifacts. The unit offers one AVB port on a locking etherCON connector and
two Dante ports on etherCON for redundant networking. Network Link/Activity
Monitor indicators enable monitoring of the data flow. presonus.com
Alcons Audio ALControl v1.7

Fulcrum Acoustic AH66 The latest version of the
An additional coverage pattern joins the AH series company’s proprietary soft-
of coaxial horn loudspeakers with the release of ware program for controlling
the new AH66 that’s specified to provide 60- x and monitoring its Sentinel
60-degree dispersion with control to below 400 amplified loudspeaker con-
Hz, As with the other models in the series, the new trollers now offers full remote
AH66 utilizes proprietary Compression Head horn configuration and control of
architecture that’s designed to deliver optimized gain, delay, and equalizing, as
low-frequency loading to its twin 10-inch low-fre- well as input routing, selecting
quency cone woofers. In addition, a pair of propri- presets (factory and user), custom FIR filter inputs, and more.
etary Oculus phase plugs are employed with the In addition, the same functionality is available for assembled groups and
woofers to extend their high-frequency response sub-groups of Sentinels, with overlay control. In addition, now the firmware
to “mesh” more smoothly with the loudspeaker’s of connected Sentinels can be automatically detected and updated online.
4-inch-diaphragm HF compression driver. ALControl can be run from both Mac and PC/Windows platforms.
fulcrumacoustic.com alconsaudio.com

NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM
Meyer Sound has announced the promotion of Katrin Rawks neering Development” in honor
(pictured at left) to Director of Loudspeaker Engineering and the of his invention of gain sharing
hiring of Ianina Canalis as Application Architect, Spatial Audio automixing technology. “The idea
Specialist. Starting at the company as a student intern in 2003, for automatic mixing technology
Rawks has steadily taken on increasing responsibilities, cul- came to me about 50 years ago
minating in this latest when I was a sound designer for
appointment, where live theater,” says Dugan. “While
she reports directly to watching an operator struggle to
Vice President of R&D manage a large number of microphones, I thought ‘there has
Marc Chutczer. to be a better way.’ It took a few years of subsequent research
Joining Meyer and design work in my lab, but the gain sharing automixer
Sound early in 2020, was the result.”
Canalis is contributing The gain sharing technology invented by Dugan is designed
her expertise to the final development stages of Spacemap Go, to ensure that everyone is being heard at the right time and
the company’s spatial sound design and mixing tool. Prior to working much more quickly than a human operator can. Overall
that, she held posts as a lecturer in live sound technology at system gain is held at the level of one microphone, regardless
universities in both the U.K. and her native Argentina. During of who is talking or how many people are trying to talk at once.
this time, she continued to develop and demonstrate her own The result is transparent crossfades without upcutting, choppy
software for multichannel live sound production she calls ISSP, sound or shifts in background noise.
or Immersive Sound System Panning.
“We continue to be amazed and gratified by the talents of Powersoft has named
the people we attract to Meyer Sound, and also those we’ve Bangkok-based M.I. Engi-
been able to retain for years while they develop their skills,” neering as its new exclu-
states Executive Vice President Helen Meyer. “With Ianina and sive distributor for its full
Katrin, we are also proud to continue our industry leadership line of products in Thai-
in promoting gender balance in top-level positions.” land. Established in 1994,
the company is a member
Yamaha Corporation of America of the Mahajak Group, a
(YCA) has named Preston Gray as full-service importer of
Director of Marketing for Profes- sound system products.
sional Audio, responsible for Yamaha “We pride ourselves in providing excellent service and quality
and NEXO professional, commercial audio products to our customers, which drives us to always be
and live sound products as well as aware of the best solutions available on the market,” says Atta-
audio workstation tools from Stein- pol Praisri, M.I. Engineering Product Manager — Professional
berg Media Technologies. Reporting Audio (pictured at left with a senior product specialist from the
to Randy Beck, Vice President of Integrated Marketing, he is company). “Everything that we have in our arsenal, not only
focusing on expanding the company’s total systems approach, suits our philosophy, but also the systems our customers want
providing sound engineers, system integrators and designers to build. Having Powersoft added to our portfolio is going to
with unified solutions that cross multiple product segments strengthen this position.”
and create more efficient audio workflows. Powersoft is planning to run a number of training courses
Gray joined Yamaha in 2016 as a District Manager represent- in Thailand with the help of M.I. Engineering as soon as con-
ing NEXO systems. Prior to working that, he was the Audio ditions allow.
Department Manager at Morris Light & Sound based in Nash-
ville, TN and he has extensive experience as a system engineer Jerry Harvey Audio (JH
on top-grossing country tours. Audio) has announced
“Preston is uniquely qualified to lead our pro audio marketing Melody DePree as the
efforts,” says Beck. “He has hands-on experience with all our newest member of its
products at the engineering and sales levels, he understands our staff, based at the com-
customers and their challenges and, most important, he knows pany’s Los Angeles (Bur-
what it takes for a manufacturer to meet and exceed customers’ bank) offices and working
needs as they grow and build with us for long-term success.” in support of artist rela-
tions in tandem with Director of Artist Relations Thomas Reid.
Dan Dugan was awarded an Emmy at the recent 72nd Engi- (DePree and Reid are pictured here.) Bringing several years of
neering Emmy Awards for “Outstanding Achievement in Engi- experience and contacts in the live concert community and

NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM
with a direct concentration on in-ear monitors (IEM), she’s also reaction to the action of the game. The system is operated live
charged with providing on-site services as well as managing by engineers in the stadium in order to follow the energy levels
audiology/impressions. and punctuate the dramatic moments as they happen.
Cited as one of the Top Women in Events 2020 by Lasso,
most recently DePress served as production coordinator and L - A co ustics has
labor manager for West Coast-based production company 3G announced a series
Productions. Prior to that, she held a similar role with Rat Sound of demonstrations of
Systems where she supported concert tours by artists such as its new K3 compact,
the Red Hot Chili Peppers, Pearl Jam, The Chainsmokers and full-range line array
many others, as well as major festivals like Coachella, Camp system at the manu-
Flog Gnaw, Panorama and more. facturer’s headquar-
“Both professionally and personally, I’ll be eternally grateful to ters in Marcoussis,
Jerry and his team for believing in me and what I bring to the table,” France on November 12, 18 and 25 and December 2 and 9. and
DePree says. “In a year of uncertainty for the live music industry, the North American office in Westlake Village, CA on November
I would have never expected to have been able to land my dream 5 and 19 and December 3 and 17. All will follow strict sanitary
job doing artist relations at JH Audio. I’m happy to be working protocols, including restrictions to group size as well as sup-
alongside Thomas Reid and to be able to apply my background in plying masks and hydroalcoholic gel for attendees.
live audio production. I look forward to servicing the IEM needs
of the Jerry Harvey Audio family in the Los Angeles area.” DA S Audio of Amer ica has
announced the appointment of
Paul Lee has joined QSC as APAC Scott Pizzo to the position of vice
Business Development Manager – president of sales – Professional
Systems, where he’s responsible Audio, North America, where his
for growing the systems business key responsibilities include sup-
in Singapore, Indonesia, Malaysia porting the efforts of the compa-
and Vietnam. In addition, he will ny’s direct sales force, working to
work to improve service levels further develop both the production and installation markets
with end users throughout APAC as well as the company’s rental partner network, and building
as well as work closely to ensure smooth and consistent deploy- growth through strategic alliances.
ment of QSC products with their chosen integration partners. Pizzo started with DAS Audio in September 2020 and is sta-
Lee brings 16 years of sales operation and technical service tioned in Peabody, MA. He brings considerable experience to
experience in the AV market to the role. Prior to QSC, he served his position, most recently serving as national sales manager,
as Director Technical Services, APAC for Harman, where he Production Audio with Harman Professional Solutions. Prior
oversaw a team that provided technical services and training. He that that, he was regional sales manager for L-Acoustics US,
also worked with AMX as Sales Operations Manager, where he responsible for in the northeastern U.S. and Canada. He’s also
executed growth sales strategies and enabled technical training worked as director of North American Sales at EAW and eastern
and customer relationship management for customers in the regional sales manager at Renkus-Heinz.
MEAAP region. “Throughout my career in pro audio, I’ve been keenly aware of
DAS Audio and its reputation as a manufacturer of innovative
d&b audiotechnik is partnering with theatrical and creative solutions for performers, installers, and audio technicians,” Pizzo
sound design firm Autograph to co-develop and launch a sta- says. “The company has a solid reputation for its well-designed,
dium sound application designed to create a live crowd atmo- sonically superior, and reliable loudspeaker systems that enhance
sphere at empty sports events. Called “d&b Fanblock powered music reproduction and speech intelligibility — no matter what
by Autograph Stadium Sound,” the aim is to deliver real-time, the application. I am honored to be joining the company and I
controlled sound to venues without fans or with a reduced num- look forward to helping DAS reach the next level in its success.”
ber of fans on site. Using a d&b sound system design positioned
within an arena, d&b Fanblock will utilize a multi-channel Point Source Audio has named veteran production sound engi-
surround sound system combined with Autograph’s playback neer and designer Mac Johnson as its new market development
software to provide the much-missed sound of fans. manager. He has more than 30 years of experience in professional
Fans at home will also be able to experience the sounds of the audio, with a resume that includes touring as a production sound
stadium while games are broadcasted live. The basic audio content engineer on a variety of Broadway productions as well as working
consists of non-team specific sounds that includes background as a sound designer for theatrical productions, music festivals
“bed” loops to provide a continual atmosphere within the stadium and corporate events. He’s also a performer who understands
and a library of sonic cues that can be triggered by operators in how microphones can be an extension of an artist’s instrument.

Prior to joining Point Source Audio, products,” explains Fabrizio
Johnson was the managing partner Grazia, RCF sales manager
of an event production company in and coordinator of RCF
Charleston, SC and became an integral Professional Team (Italia).
part of Meyer Sound’s team in 2007, “Although RCF products are
where he spent 13-plus years working easy to use and incorporate
in various roles across multiple depart- technologies that facilitate
ments, markets segments and sales regions. Having champi- installation and setup, we also want to educate our customers
oned Point Source Audio’s new AVIXA CTS training, he will be with extensive knowledge for optimal use of our technologies in
working closely with the company’s clients to support them every scenario.”
in education as well as focus on development of new markets The first session was held at the company’s training center
for the company. (and headquarters) in Reggio Emilia, Italy in late October,
“It’s a real honor to be joining the Point Source Audio team,” providing two full-day sessions. It began with an entrance
Johnson says. “The company’s mission has always been to add exam to gauge each participant’s proficiency so that the lessons
value for the customer, not just through revolutionary micro- could be adapted to the most critical needs of the students,
phones and headsets, but also with exceptional service and it’s and concluded with a final verification exam to evaluate the
great to be a part of that core focus. I hope that my experiences knowledge acquired and to clarify any uncertainties. Those
with the audio industry will contribute to Point Source Audio’s who passed were certified as members of the RCF Professional
already established global presence.” Team. Attendees of the first RCF Professional Team training
course are pictured here. LSI
The RCF Audio Academy recently hosted its first course – called
RCF Professional Team – that’s designed to certify attendees’ ProSoundWeb provides all of the latest pro audio news,
knowledge of the company’s products and technologies. “We and follow PSW on Facebook and Twitter – just go to
felt the need to certify the best professionals who use RCF prosoundweb.com and click on the icons at the top of the page.
Join Host Samantha Potter as she

explores the best techniques and
most innovative ways to optimize your
worship services audio with today's
elite worship audio professionals.
Listen and learn from these leaders in worship audio:

Ryan O John • Karl Winkler • Matt Larson & Ryan Shelton • Jeff Hawley • Ben Ivey • and more!
in partnership with

Back Page
TWO SIDES OF THE SAME COIN
The desired result
determines the
method employed.
by James Cadwallader
Editor’s Note: This article appeared in LSI about a decade ago
and is still quite relevant today.
E
veryone agree s with the idea that you point the
microphone at what you want it to pick up. But
there’s another side to the coin: pointing the mic
away from what you don’t want. This perspective applies
both for using a particular polar pattern to eliminate
undesired pickup or mic’ing unconventionally to find a
desired sound.
Take drum mic’ing. Snare bleed in the hi-hat mic can
blur the snare in the mix, especially for those drummers who indoors. This plan worked just fine with the maximum of five-
know how to play the brass sweetly. Some time ago, I picked up piece drum kits that were showing up - until the last set.
the method of turning a small diaphragm cardioid condenser The final band didn’t have a teenage drummer, but rather,
nearly horizontal above the hi-hat and pointing it away from employed a grizzled veteran who’d been through rehab and was
the snare. Having the snare in the “nulling area” of the mic’s playing for redemption. Via a 12-piece kit.
polar pattern is very effective in reducing bleed. So my method had to evolve to include the second kick drum.
But the million dollar question: how many drummers or techs Not having another Sennheiser e602 in my bag, or for that
then try to “fix” my positioning of the mic? Too many to count. matter, any other “proper” kick mic, the band’s roadie grabbed
Having the mic positioned this way is just “wrong” - they’re another SM57 and went to work. And in short order, my level
firmly convinced that it’s supposed to point directly at the hi-hat. of respect for the guy went way up. He pointed the 57 one way,
A young band I regularly worked with had a guitarist using listened, then drastically changed the position of the mic and
a notoriously sub-par guitar amp. I’d already resigned myself listened again, while the drummer kept up a double-kick beat.
to the sound we were getting with a Shure SM57 and heavy He did this probably a dozen times, randomly re-position-
EQ on the console. Then one day I walked in via backstage ing the mic until he was satisfied with the similarity between
during a rehearsal and immediately thought that he’d gotten the sound of the two. He looked at me. I matched the levels,
a new amp. But surprise of surprises, it was still the same! applied some gentle EQ, and marveled at how identical the two
The only difference was that the house assistant, not knowing completely different mics sounded.
the “right” way to mic a guitar amp, put the SM57 smack dab The guy found success by pointing the mic at the sound he
in the middle of the cabinet, pointed at nothing more than the wanted, and away from the sound he didn’t want.
cabinet baffle, inches from the nearest driver. Whether reducing the snare in the hi-hat mic, finding a good
The assistant, having yet to be tainted with the ideas of center, guitar sound from a frowned-upon amp, or using a non-kick
edge, on-axis and off-axis mic’ing techniques, just intuitively stuck specific mic to match another mic - it can all be accomplished as
the mic in front of the cabinet with no thought as to “proper” - and long as we don’t confine ourselves to the self-imposed limitations
it sounded great. I swallowed my pride and learned something. inherent in viewing one technique as “right” and all others as
Then there was the Saturday of doing a parking lot youth “wrong.” LSI
gig with four bands throughout the afternoon. I kept it simple
on this, choosing for drums to just use mics on kick and snare, Since his start more than 30 years ago on a Shure Vocalmaster
along with a pair of overheads for the complete kit. system, James Cadwallader remains in love with live sound and
Being outdoors, I’ve found that drum overheads can really has held a wide range of professional audio positions, performing
be pushed for a whole kit perspective in a way that’s not wise mixing, recording, and technician duties.

CONTROL
FREAKS.
C S-S E R I E S. On-board DSP and optimization give you unparalleled power, with revolutionary
control over every performance environment.
This is Adamson’s legendary sound, evolved for the networked future of professional audio.
E X PLO R E C S-S E R I E S AT P OW E R. A DA M S O N SYS T E M S.C O M/C O N T RO L

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THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS NOVEMBER 2020 | PROSOUNDWEB.

GATHERING A DETAILED LOOK INTO HOW TO AVOID POOR EQ

MEMORIES OF SERVING AS A MIX ENGINEER FOR

economical to deploy. It’s ready for your next event. l-acoustics.com

6 18 BY LIVE SOUND STAFF

31 in-ear monitors and more. BY LIVE SOUND STAFF

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 1

REPRINTS: Wrights Reprints

Clever Interaction. Lighter Installations.

SOURCES ZONES DYNAMIC DYNAMIC DYNAMIC DANTE

DRIVING HUMAN AUDIO EXPERIENCE

This section offers information in light of the ongoing situation with

Sweetwater has announced

4 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 5

PHOTO CREDIT: BY CARL LENDER - FLICKR: EDDIE VAN HALEN, CC BY 2.0

HITTING THE BIG TIME

6 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

Optional Dante® output Rugged cH-style

Industry-standard thread mount

I countered that I was indeed, but my heart was truly in mix-

8 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 9

other side of the

10 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

You’ll hear the difference. You just won’t see it.

12 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

GATHERING TIMELY DATA

14 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 15

trends held true – opening more than two

16 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

bringing it in line with the in-vehicle mea-

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 17

18 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 19

“If you don’t know the answer before you

20 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

sound systems are “re-equalized” when

NOISE Figure 3: Signal-to-noise ratio (all things being equal).

22 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

for signal-plus-noise approach those of

Figure 5 shows that as long as there’s

24 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 25

measurement and reference signals are

26 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 27

d&b AUDIOTECHNIK 44S

28 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 29

30 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 31

32 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

THE BEAT GOES ON

The main hall at this 55,000 square-foot venue, scalable in capacity

www.ProSoundWeb.com NOVEMBER 2020 LIVE SOUND INTERNATIONAL 33

sion-making process because of its ease of operation paired with

Dee Events Center, Ogden, UT

PHOTO CREDIT: CLIVE TOTMAN

34 LIVE SOUND INTERNATIONAL NOVEMBER 2020 www.ProSoundWeb.com

PHOTO CREDIT: LINFORD BAILEY

Star & Garter, Montpelier, Bristol, UK