Lsi 2004

THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS APRIL 2020 | PROSOUNDWEB.
COM
MANAGING THE THE PROS & CONS OF MIXING FRONT OF

HOUSE VS MONITORS
SPRAWL
INSIDE
RIGHT FOR THE JOB: KEY FACTORS OF

CONSOLES
A variety of approaches in efficiently WORKING EFFECTIVELY WITH GUITARS ON
dealing with large channel counts THE LIVE STAGE
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In This Issue APRIL 2020 | VOL. 29, NO. 4
FEATURES 44
14 CAPTURE & OPTIMIZE Working effectively with gui-
tars on the live stage. BY ANDY COULES
24 MANAGING THE SPRAWL A variety of approaches in

efficiently dealing with large channel counts.
BY LIVE SOUND STAFF
44 GETTING IT DONE A roundup of recent reinforce-

ment portable and installed applications.
BY LIVE SOUND STAFF
DEPARTMENTS
10 TALKIN’ YAK Reconciling differences with artists
about the mix. BY JIM YAKABUSKI
12 GIG SCHOOL The pros and cons of mixing front of

house vs monitors. BY BECKY PELL 48 16
18 INSIGHT Techniques to stay focused on the matter
at hand. BY CHRIS MITCHELL
20 REALITY CHECK Right for the job – key factors of

consoles. BY ALEŠ ŠTEFANČIČ
30 BUSINESS MATTERS Key steps in building an AV

(and any other) business. BY PETER JANIS
32 SPOTLIGHT The nuts and bolts of getting it done

with corporate events. BY CARL STEWART
EQUIPMENT
36 ROAD TEST Evaluating the new Bose SoundComm
B40 headset as well as the Audio Precision APx500 Flex
software-based analyzer.
BY MICHAEL LAWRENCE
40 TECH TOPIC Part 2 on smart loudspeaker acoustic

measurements. BY JOE BEGIN
48 REAL WORLD GEAR Compact line array designs and

a collection of recent models. BY LIVE SOUND STAFF
54 LOADING DOCK New wireless gear, subwoofers,

loudspeakers, amplifier platforms, interfaces and 20
more. Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 4, is published monthly
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56 BACK PAGE
4 LIVE SOUND INTERNATIONAL APRIL 2020 www.ProSoundWeb.com
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From the Editor’s Desk
Thank you. APRIL 2020 | VOL. 29, NO. 4
First, to our advertisers who have Live Sound International
provided their support in making this 111 Speen Street, Suite 200, Framingham, MA 01701
issue happen. We simply could not do 800.375.8015 | www.livesoundint.com
it without you.
Next, to our authors, who have PUBLISHER Kevin McPherson, kmcpherson@ehpub.com
stepped up as usual in the present try- EDITOR-IN-CHIEF Keith Clark, kclark@livesoundint.com
ing circumstances (pardon the under- SENIOR EDITOR M. Erik Matlock, ematlock@livesoundint.com
statement) to deliver their consistently SENIOR CONTRIBUTING EDITOR Craig Leerman
superb editorial efforts. We simply cleerman@livesoundint.com
could not do it without you. TECHNICAL EDITOR Michael Lawrence
And last but certainly not least, to you, our readers. I know michael@precisionaudioservices.com
that many are severely impacted by current events, yet in all of TECHNICAL CONSULTANT Pat Brown, pbrown@synaudcon.com
CONTRIBUTING FEATURES EDITOR Phil Garfinkel
my interactions with you over these past few weeks, I’ve been
phil.garfinkel@gmail.com
so encouraged by your unfailingly positive outlook and forward
PRODUCTION DESIGNER Samuel Clark, sclark@ehpub.com
thinking, and helpful input and efforts. We simply could not do CONTRIBUTORS: Becky Pell | Jim Yakabuski | Chris Mitchell
it without you. Andy Coules | Aleš Štefančič | Carl Stewart | Joe Begin
You’ll notice that this issue looks a bit different than usual.
Simply, we’ve moved some things around to reflect the present ProSoundWeb.com
situation. Right up front you’ll see the News section, where we EDITOR-IN-CHIEF Keith Clark, kclark@prosoundweb.com
note a variety of useful services and online training opportu- SENIOR EDITOR M. Erik Matlock, ematlock@livesoundint.com
nities presently available. Note that there’s plenty more of this PRODUCT SPECIALIST Craig Leerman,
information presented on ProSoundWeb. cleerman@prosoundweb.com
We’ve also decided to present even more reference-based WEBMASTER Ernie Black, ernie@prosoundweb.com
content this time around, to provide you with some things to
ASSOCIATE PUBLISHER Jeffrey Turner
consider and perhaps even try out in this unusual period in our
jturner@livesoundint.com | 415.455.8301 | Fax: 801.640.1731
history – things that may serve to be helpful as we (hopefully ASSOCIATE PUBLISHER ONLINE Mark Shemet
soon) are able to get back to “normal” (whatever that may be mshemet@prosoundweb.com | 603.748.4067 | Fax: 603.532.5855
in your world). PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
Thank you. And enjoy the issue. jlitchfield@ehpub.com | 508.663.1500 x226
Circulation and Customer Service inquiries should be made to:

Live Sound Customer Service
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REPRINTS: Wright’s Reprints

On The Cover: Our Roundtable ehpub@wrightsmedia.com | 877.652.5295
panel delivers a variety of
approaches in efficiently dealing
with large channel counts.
Coverage starts on page 24. ProSoundWeb
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NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM
This section offers information about services, educational The Audio Engineering Society is offering 3-month mem-
opportunities and more in light of the ongoing situation with berships for $25, or a 3-month bonus at the standard yearly
the COVID-19 pandemic. We’ve also included some (but cer- rate, through April 30, for both new and renewing members.
tainly not all) of the really positive things going on in the pro Enrolled audio students receive a bigger discount with AES
audio community at the present time. All of these opportunities Student Memberships starting at $10.
and further details can be accessed via the ProSoundWeb home
page – prosoundweb.com. Also don’t forget: SynAudCon offers a range of exceptional
online training ranging from beginner to advanced levels. Access
AV Industry Relief Resources is a public Facebook group ded- it directly at prosoundtraining.com. And Audinate Dante
icated to networking between industry professionals whose live- certification training – all three levels – is online and free of
lihoods have been charge (audinate.com).
impacted by the
widespread can- While the InfoComm 2020 show, slated for this June in Las
cellations of tours, Vegas, has unfortunately been canceled, the folks at AVIXA,
productions, and producer of InfoComm trade shows around the world, is now
the resulting lay- doing a weekly survey to access the impact of COVID-19 on
offs throughout the pro AV industry. A new survey and other information are
the professional published every Friday.
audio and video
community. From While still busy manufacturing loudspeakers, the crew at Inno-
job postings and barter offerings to aid resources, humanitarian vox Audio (based in St. Paul, MN) is building face shields
assistance, and helpful tips, the group is a place for pooling for local senior living communities
resources and helping each other. around the greater Minneapolis – St.
“Our industry is truly the original gig economy, and a great Paul area.
many of us who live tour to tour and paycheck to paycheck “Today I picked up an order of
have been hit hard by the shutdown, right at the begin- face shields for Walker Method-
ning of peak touring season,” explains David Rahn, North ist – 750 shields crafted to protect
American sales manager for Alcons Audio and a co-founder the health care teams serving our
of the group. “It’s more important now than ever before seniors,” says Mary Ryan, corpo-
for us to pull together and help each other. Whether it’s rate director at Walker Methodist
a temporary job or a heads-up about financial assistance, Senior Living Facility. “I couldn’t
sharing our connections and our collective knowledge can hug them, but I will when this
only be a good thing.” whole crisis is over. Bless you Chris
“We’re a diverse industry full of creative, talented people (Osgood) and Arnaud (Blesbois) of Innovox. Your hands
that has never failed to come together in times of crisis,” have created a guard to keep our people safe. I am forever
adds Daniel Keller, CEO of Get It In Writing. “Information grateful and honored to know you. Look for the helpers. They
is power, and communication is our most valuable asset. It’s are here.” (Innovox product designer Arnaud Bresbois is pic-
our hope that this group will enable those of us who need tured above wearing one of the face shields the company is
help to get it, and those of us who can offer help to connect producing.)
with those in need.” Due to material shortages, the Innovox team is still determin-
ing how many face shields they can assemble but will continue
Inspired by the COVID-19 quarantine, Practical Show Tech is as long as the need and supplies are there. (Check out PSW to
making use of social distancing time by sharing knowledge of see a video of the production process.)
live show production through a series of free live webcasts that
are happening on a daily basis. It’s founded by veteran audio/ Clair Global is partnering with Mountain Productions to
RF/production professionals Pete Erskine, Mac Kerr, Kelly integrate Clair’s turnkey solutions and custom designs into
Epperson and Bruce Kraemer. Mountain’s large-scale
temporary hospitals
A large number of manufacturers have stepped up to offer and disaster relief cen-
free live webinar and other online educational opportunities ters made necessary
focusing both on their own products as well as on a wide range by the Coronavirus
of pro audio technologies. Some of these companies include: outbreak.
Powersoft, Martin Audio, Rational Acoustics, QSC, “When we launched
Yamaha, Shure – see prosoundweb.com for more opportunities. the MTN Emergency

Services platform, Clair Global immediately heeded the call, Since 2011, Kane con-
and we are proud to be working with their world-class orga- ducted extensive research,
nization and unique solutions to address this global crisis,” including more than 100
says Ricky Rose, CEO at Mountain Productions. interviews with people from
The combined efforts of the companies help ensure emer- the production and perfor-
gency personnel can continue uninterrupted operations while mance side of the industry.
working in temporary or improvised locations. Clair’s services These carefully selected
include LAN/Wi-Fi-based connectivity, pre-built mobile office respondents witnessed
setups, network security and monitoring, and push-to-talk Hanley’s expertise at vari-
mobile voice communication. ous events and venues such
as U.S. president Lyndon B.
And, this could help fill some of our newly found downtime: Johnson’s second inaugu-
In a new book just released by University Press of Mississippi ration, the Newport Folk/
entitled, “The Last Seat In The House: The Story Of Hanley Jazz Festivals, the Beatles’
Sound,” author John Kane details the impact of live sound final tour of 1966, the Fill-
pioneer Bill Hanley on the field of sound engineering and more East, Madison Square
reinforcement. Garden, and more.
Known as the “Father of Festival Sound,” Hanley (born Both hardcover and paperback versions of “The Last Seat In
1937) made his mark as a sound engineer at the 1969 Wood- The House — The Story Of Hanley Sound” are available via the
stock Music and Arts Fair, and is credited with creating the link at PSW and directly at upress.state.ms.us. LSI
sound of Woodstock, helping to make the massive festival
possible. Since the 1950s his passion for audio has changed ProSoundWeb provides all of the latest pro audio news,
the way audiences listen to and technicians approach quality and follow PSW on Facebook and Twitter – just go to
live concert sound. prosoundweb.com and click on the icons at the top of the page.
www.ProSoundWeb.com APRIL 2020 LIVE SOUND INTERNATIONAL 9

Talkin’ Yak
THE SAME PAGE

Reconciling differences
with artists about the mix.
by Jim Yakabuski
I
n “Mixing For The Boss” (LSI December 2018), I dis-
cussed a burden we all experience as audio engineers:
the unenviable task of mixing front of house for an
artist while “influential” friends, family members or managers
hover over our shoulder. Their opinions and comments, while at
times accurate and possibly even helpful, can put us in a tricky
position, especially if the advice is meant to favor their friend
or family member in a “decibel-tory” way. (You get my drift!)
I wrapped up that previous article noting that this isn’t always
the worst thing, because we can always take or leave that advice
at our discretion. But how do we, as FOH engineers hired to
make the artist sound great, approach advice given from that
artist directly? And how does one handle said advice if it causes
us to stop dead in our tracks and say, “Ah, nope – that’s not a
good idea at all.”
The pro audio community is really quite small, and tales of
certain legendary performers and their “signature sounds” get after “board tape” reviews late at night. Now that we have
around fairly quickly. When you’re in a room at the AES conven- YouTube with fans recording shows on their phones from the
tion and seven FOH engineers are telling the exact same story 99th row of the venue and posting them instantaneously, there
about a singer demanding the application of “ample amounts” is way more opportunity for the artist to critique the mix in a 3
of 8-second reverb to his vocal to make it sound “beautiful,” am text message while we’re trying to get some much-needed
you can piece together a pattern. You may also learn that some sleep in our bunk.
(if not all) of those seven audio engineers were either relieved
of their duties for “insubordination” or decided to walk away ASKING THE QUESTION
from the gig because of irreconcilable differences. In an attempt to take the bull by the horns, I often ask artists
So, what’s the solution? Do we: when I’m hired if there’s a particular album or live recording
A) Look the other way and take the fat paycheck while telling that captures the way they would like me to mix their show. If
ourselves the 8-second reverb tail with +6 dB of 10 kHz probably nothing else, it lets them know I truly care about their inter-
won’t haunt our dreams? pretation of how the show should sound instead of just mixing
B) Nudge the reverb down in the mix and shorten the decay to my taste.
time a bit so people stop dropping by the FOH mix position and I find artists are sometimes perplexed by this question and
pleading with us to “Turn the flipping echo down?” can’t always point to one piece of recorded work that captures
C) Attempt one more professional conversation with the boss the live feel they’re hoping to achieve, so they kind of generalize
to reiterate that while the other elements of the mix are really and answer with, “Just make us sound like us – only louder.”
pretty great, this “reverb thing” could be improved? Fair enough. That’s my initial approach anyway, and it almost
D) Become an accounts manager for an audio company, never always works out just fine.
mix a show again, and go to next year’s AES convention and Problems can arise, however, when we’re mixing by instinct,
add our name to the list of storytellers? translating the mix as we’re feeling it, and artists begin ques-
Tough choices for sure. I use this true-to-life example of tioning our work. Maybe they don’t like what they’re hearing
excessive reverb on the lead vocal, but there are many other on stage (which is sometimes unfair, seeing as how they’re
audio “differences of opinions” that arise between artists and behind the PA system), or it’s comments they’re receiving from
engineers. These differences can lead to unwanted discussions friends or colleagues.

However they arrive at the point of not trusting what we’re SOMEONE’S GONNA DO IT
doing out there, it’s a trip down the wrong road and hopefully In the end, we’re hired to give bands what they want. If they
together we can take the first exit, refuel and get some snacks. want a result that is way, way off from a quality sounding mix,
If they’re not happy, eventually we won’t be happy. This is a they may reduce our options by handing us a plane ticket, but
rock-solid guarantee that often ends poorly for the engineer. if they feel we deserve more time to “get it together,” we can
choose either a nice paycheck with a side of humility or exit
In the end, we hope our intuition with our pride intact in hopes of finding another project that
appreciates our skillset.
regarding the sound we amplify Quirky or difficult artists are going to find someone to mix the
for the listeners is in line with what show. If the quality of audio they seek doesn’t measure up to our
standards, we can always walk away, leaving our replacement as
the band would want to hear if the one with the hands on the faders while the patrons come
by voicing their displeasure.
they were able to come out front Perhaps at a future audio convention you’ll meet this succes-
sor and share a story and a laugh (and maybe the phone number
In the end, we hope our intuition regarding the sound we of a good therapist). LSI
amplify for the listeners is in line with what the band would
want to hear if they were able to come out front. If mixing Jim Yakabuski has spent more than 35 years as a live sound engi-
the show at 98 dBA feels just right but the band wants it neer, working with artists such Van Halen, Journey, Avril Lavigne,
at 106 dBA, tough times may be on the horizon. Or the Peter Frampton, and many others. He’s
low end is right where it should be to musically hold the also the author of “Professional Sound
mix together, but the artist wants to steam-roll the first 30 Reinforcement Techniques,” which pro-
rows, perhaps the wrong person is behind the console for vides a collection of tips and techniques for
this particular artist. mix engineers. It’s available via Amazon.

Gig School
Monitor engineer Loreen Bohannon delivering mixes to Lizzo on a DiGiCo SD12 console late last year.
HEADS OR TAILS?
The pros and you’ve specialized in one role, either by
accident or design.
So, what are the pros and cons of mixing
FOH versus monitors?
cons of mixing In my early days I spent five years
learning the craft of live audio from the FOH PROS
front of house vs ground up; but having become competent Creativity. Out front, although you’re
across a broad base, it became clear that obviously mixing for the crowd, you’re
monitors. mixing monitors was the path that best essentially mixing for yourself – you
suited my personality and interest. It don’t do something if you don’t like
by Becky Pell helped that I had a wonderful teacher how it sounds – so it’s all down to your
and mentor in Fred “Gumby” Jackson, a preferences.
brilliant monitor engineer who counted Personal satisfaction. When the mix
W
hile there are plenty of Bruce Springsteen and Patti LaBelle sits “just right,” there’s huge fulfilment
multi-talented folks who mix amonst his credits – he could see traits in enjoying the audio art that you’ve
both front of house and mon- in me that would serve me well mixing created.
itors, and maybe also count PA system monitors, and generously shared his time Reflected glory. When a band is flying
teching amongst their skills, there are and knowledge. Likewise, I’m married to high and it all sounds great, you can bask
many engineers who lean towards one a front of house engineer (Chris Pyne) in the glow of a job well done.
discipline and become known exclu- who, after learning the ropes, realized Atmosphere. There’s a fantastic group
sively for that. It’s a good idea for anyone that being out front was his true calling. energy when an audience loves a gig, and
starting out in live audio to get a strong But what if the path isn’t so clear? you get to be right in the middle of it.
grounding in all areas – it makes you a There was an interesting thread recently Less band politics. With less focus
better engineer all round and maximizes on the Soundgirls Facebook group from on managing the different personalities,
your usefulness and employability – but a member wondering which way to go your job is to shape the sounds they’re
the day may come when you find that – or indeed whether to specialize at all. creating.

FOH CONS
Variable acoustics. You’re at the mercy
of the venue design. Some of them
restrict your capabilities considerably,
and it changes with every load-in.
Exposure. Everyone has an opinion,
whether they know what they’re talking
about or not, and these days, it’s not just
limited to the time when you’re at FOH
– the internet means that the “expert”
opinions on social media keep on coming
long after the trucks are loaded.
Pressure. Managers, producers, pro-
moters, and performers’ partners will all
be out front and have an opinion about The audience mixes for Poison on tour in 2018 were served by front of house engineer
your mix. If they don’t like what you’re Mark Woodcock on a Yamaha RIVAGE PM7.
doing, it can lead to an unhappy result.
The “social club.” Some audience capacity – I can literally feel different parts Hangers-on. While most of the entou-
members don’t always respect the fact of my brain keeping a handle on my tasks rage will want to watch from out front,
that you’re working and trying to con- and cues during the show, while never there are some who want to hang out at
centrate, and will carry on their conver- taking my attention off the musicians. stage-side, and they get in the way. I’ve
sations right behind you. Bonus points Opinions are important. Unlike had to “accidentally” step back from the
for keeping your cool with those who use FOH, those that have opinions about a desk farther than usual to make it clear
equipment as tables for their drinks… mix are concerned with their own per- that they’re in my workspace, or politely
Weather and wind at outdoor gigs. sonal mix, so they’re welcome to ask for ask them to go elsewhere if they want to
FOH is generally more exposed than whatever changes they need. chat to their friends.
monitors, and line array PA systems in FOH, monitors, and indeed the
particular can suffer badly in the wind MONITOR CONS ever-evolving art of PA system engineer
when the sound gets blown off course. Lack of artistic licence. Occasionally a –as with all things in life, it’s different
Visibility. As the most identifiable performer wants the mix that you’d do for strokes for different folks. In my expe-
member of the touring crew, you have to for yourself, and you can mix intuitively, rience it’s wise to gain a strong level of
field frequent audience requests for phone which is a creative dream. But monitor competence in all aspects of live audio
charging/restroom locations/band meet mixes are as much function as form, and before you consider specializing – a house
and greets – and – “Hey, are you the DJ?” performers need what they need. While it’s is built from the ground up, after all.
within your remit to gently suggest and Over time, some folks develop a leaning
MONITOR PROS steer (especially if they’re inexperienced) towards a particular role while others might
Connection. When it’s going well there’s ultimately, it’s their mix, not yours. prefer to stay multi-functional; there are
a sense of kinship with the band, and it’s On The Firing Line. If someone’s hav- benefits to either approach. Personally, it’s
satisfying to earn and honor the trust of ing a bad day, the monitor engineer will well over a decade since I last toured as a
musicians. almost certainly know about it. monitor tech rather than an engineer, and
Camaraderie. You’re down among Pressure. Yes, this was a con for FOH almost 20 years since I last mixed FOH. I
the action with the rest of the backstage too, and both ends of the snake are sub- enjoyed all of these roles at the time, but
crew, and there’s a team vibe in pulling ject to it, just in different ways. Bands are mixing monitors has my heart.
off a great show. essentially naked up there – they’re entirely Heads or tails – what’s your favorite
Relationship with the performance. dependent on the monitor engineer to hear role on the road? LSI
Responding in real time to requests and their performance, so you have to be OK
changing circumstances means that you’re with that level of personal responsibility. Becky Pell is a monitor engineer with more
intimately acquainted with, and responsi- Staying consistent. As with FOH, than two decades working with live sound. She
ble for, delivering a consistent audio envi- you’re subject to variable acoustics toured as a monitor and RF tech with Black
ronment that lets each performer relax (although to a lesser extent), and you also Crowes, Travis and Kylie Minogue before
and do their job of raising the roof. have to deal with the vagaries of the RF moving behind the desk to mix monitors for
The brain challenge. Intensely focus- environment. If you like your job then it’s artists such as Aha, Muse, Westlife, Anasta-
ing on many different people / aspects mostly it’s an enjoyable puzzle, but there are cia and Take That. Read more from Becky at
at a time taxes and expands your mental days when there are no perfect solutions. SoundGirls.org and on ProSoundWeb.

Backstage Class
CAPTURE & OPTIMIZE

Working with
guitars on the
live stage.
by Andy Coules
B
ack in 1962 an A&R rep at
Decca Records allegedly told
The Beatles that “guitar groups
are on their way out” when he declined
to sign the band, a quote often used as
a classic example of gross commercial
misjudgment. Here we are, 58 years
later, and the humble guitar is still going
strong, remaining a popular choice of
up-and-coming acts as well as established
artists. What is it about the guitar that
continues to make it the weapon of choice
for so many musicians?
Part of the appeal of the guitar lies
in its polyphony (i.e., the ability to pro-
duce more than one note at once), which
means it’s equally adept accompanying a
solo singer or as part of an ensemble –
whether it be banging out fat chords or
picking out soaring melodies or lead lines.
The guitar also offers a wide range of
playing expression not found on other
polyphonic instruments. Basic dynamic microtonal or whole tone pitch shifting in the increasingly large big band ensem-
control, like many instruments, is through string bending. Take all of this bles of the time. Early pioneers discov-
achieved by varying the velocity at which into account and the guitar makes the ered that by winding coils of wire around
the strings are struck but you also have a keyboard look a bit like a series of inar- a magnet and placing it close to metal
choice of what you strike the strings with, ticulate binary switches. strings, the vibrations of the strings could
be it fingers, nails or plectrums – all of The sheer versatility of the guitar and be converted, via electromagnetic induc-
which affect the character of the sound. the wide range of sounds it can produce tion, into a weak electrical signal that
Further, there’s a range of subtle explains why it’s equally at home plucking could then be amplified.
tonal variations available depending on out folk melodies, chugging heavy metal Run an electric guitar directly (DI)
where the strings are struck – the sound power chords, threading its way through into a mixing desk and you may be sur-
is sharper closer to the bridge and then a jazz odyssey or laying down the funk. prised to find that the sound is actu-
gets progressively duller towards the For the sake of this article I’m going to ally quite thin and twangy in its natural
neck, plus the plucking hand can also focus on the electric guitar (with a sidebar form. Early amplifiers were often just
dampen and mute the strings to achieve on acoustic guitars). repurposed PA systems, but guitarists
a range of dynamics and effects. And soon gravitated towards specifically
that’s just one hand – the fretting hand RECOGNIZING THE WHOLE designed amplifiers that not only offered
can also influence the sound depending The electric guitar came into being in the a greater degree of control over the input
on how the strings are fretted as well 1930s in response to the need to amplify signal but also enhanced and compli-
as being able to introduce vibrato and the instrument in order for it to be heard mented the sound.

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Left to right, Shure SM57 joined by two Sennheiser models, the e609 and MD421.
Most guitar amplifiers are comprised of tarist will not only be adept at playing the Shure SM57, Sennheiser e609 and Senn-
a pre-amp and a power amp. The pre-amp instrument but will also have a thorough heiser MD421, and I tend to gravitate
enables adjustment of the sound while understanding of how the amplifier works towards the SM57 (I’ve been quoted in
the power amp makes that sound louder. and how it can be manipulated. This the past as stating that if you can’t get a
The pre-amp also typically gives the oper- explains why we almost always employ decent guitar sound with an SM57 then
ator the ability to shape the sound with microphones on amplifiers to capture the you might want to consider a career in
EQ and drive controls, and will often designated sound, which neatly brings us lighting).
include vacuum tubes designed to add to mic choices. In live sound we typically put the mic
pleasing coloration. The loudspeaker, and Dynamic mics are typically better right up against the front grille of the
how it’s driven, can also have an effect on suited to the job on live stages because amp cabinet pointing directly into one
the overall sound because it will distort they can handle higher sound pressure of the speakers (a quick listening test
in particular ways that can add compli- levels while being able to capture the can help in deciding the best choice for
mentary overtones. warmth and body of the sound; they a given guitarist and application). This
Therefore, it’s important to realize that also tend to roll off lower and higher placement helps ensure the capture of
the whole of the electric guitar sound is frequencies that helps prevent mud- as much of the direct sound as possible
achieved through a very careful symbiosis diness and harshness. The three most while minimizing leakage from other
of instrument and amplifier. A good gui- common choices I’ve seen used are the nearby sound sources. The positioning
Acoustic Guitars
The electric guitar was invented because acoustic guitars weren’t loud enough, but in an ironic twist, sonically they differ
enough that sometimes an acoustic is the only way to get that “authentic” sound. It can be a challenge using acoustics on
the live stage, especially in an ensemble with loud drums and amplifiers, in terms of attaining enough gain before feedback.
Further, the type of microphone that best captures acoustic guitar sound (i.e., a capacitor) is prone to picking up a lot of
unwanted leakage if adjacent to other instruments. As a result, often the best solution is use of an electro-acoustic guitar
(i.e., an acoustic guitar with an internally mounted pick-up or mic).
Electro-acoustic guitars probably have the widest range of potential sounds of any instrument I’ve come across, and any-
one who’s ever worked an acoustic night knows that no two ever sound exactly the same. Most folks run them direct (DI), and
I always recommend using a pre-amp specifically designed for acoustic guitars to get the best result. If necessary, feedback
issues can usually be reduced by fitting a sound hole baffle – a rubber stopper that fits in the hole to reduce the air move-
ment and thus the resonance in the body and across the soundboard of the instrument.
It’s always good to be aware that you might process and EQ an acoustic guitar differently depending on whether it’s being
used for solo accompaniment or within a loud ensemble. For example, in the former there’s no bass instruments so you can get
a fuller sound, whereas in the latter you might go for a thinner, more percussive sound to enable it to cut through the mix. LSI

of the mic relative to the speaker has a
distinct impact on the sound – the cen-
ter of the cone tends to be more “toppy,”
getting gradually more dull as you move
to the edge. This tonal variation can dif-
fer depending on whether the cabinet is
open or closed back, so it’s always good to
experiment with positioning – I usually
get someone to move the microphone
about while I stand out front and listen,
once I find the sweet spot I mark it with
tape.
TAKING ACTION
A handy trick I often use with open-back
cabinets is to put an additional mic in
the back. Once I flip the polarity of this Figure 1
signal and combine it with the front mic,
I find the second mic adds a lot of body.
This then enables me to achieve a range
of sounds, from subtle rhythm to choppy
lead, simply by moving the two faders
throughout the song or set.
Also be aware that whenever using
directional mics close to the source,
you will encounter the proximity effect
(whereby the bottom end is artificially
enhanced). This can make guitars sound
boomy and cause them to mask the fre-
quencies of other instruments, such as
the bass guitar, making the whole mix
sound muddy. The best way to combat
this is with a high-pass filter (HPF), as
shown in Figure 1.
Figure 2
While this is a great first step in min-
imizing proximity effect, I find that the Eventually I get to the point where the fact that you no longer need to haul
slope of most HPFs (typically 24 dB per bringing up the fader just increases the around that massive 4 x 12 cabinet.
octave) can be a bit too steep to fully volume, which means that I’m now rea- Most live consoles also now include
negate it. Therefore, a slope of 12 dB per sonably accurately reproducing the sound onboard amp and speaker modelling
octave (at a slightly higher frequency) is of the amplifier. I use this as the starting plugins that can be quite handy when
more likely to get the job done. point from which I can process the sound a guitarist turns up without an amp or
Unfortunately not all live consoles further, if necessary, to make the guitar the basic sound would benefit from being
offer the option to change the HPF slope, sit properly in the mix. re-amped. Having fewer amps on stage
but the same effect can be achieved using It could be argued that in this modern will invariably have a positive impact on
an EQ filter with a low Q. Figure 2 shows age of advanced digital processing we can the front of house mix, especially if used
the same HPF, to which I’ve added a -6 dB ditch the guitar amps all together in favor in conjunction with in-ear monitoring,
filter at 120 Hz with a Q of 0.5. of amp modelling and speaker simulation thus ensuring a more consistent sound
Once the amp is miked up and proxim- software. Various stand-alone units are for both the audience and the musicians.
ity effect dealt with, I then listen to the available as well as computer software LSI
ambient sound of the amp while slowly capable of real-time processing. One obvi-
bringing up the fader on the mic. If I ous advantage of this approach is that you Andy Coules is a sound engineer and audio
hear the sound change as the two sig- can model a wide range of amp and cabinet educator who has toured the world with a
nals combine then I EQ accordingly and combinations while effortlessly being able diverse array of acts in a wide range of
repeat. to switch between them, not to mention genres.

Insight
A TWIST OF THE KNOB

Techniques to
stay focused
on the matter
at hand.
by Chris Mitchell
A
s a young man, I fell in love
with motorcycle racing – a
full-on obsession which,
luckily, I couldn’t afford. While
studying the minutiae of my new
obsession, I came across a book titled
“Twist of the Wrist: The Motorcycle Roadracers Handbook,” But time and again, laboratory experiments and real-life
by Keith Code. Long considered the racer’s bible, this in-depth experiences show that our attention span is finite. We each have
book dissects and distills the techniques required to ride these a personal maximum of data points and details we can manage,
dangerous machines. some more, some less, most dictated by circumstance, some by
One of the book’s concepts resonated with me so much that ability. If we overload our attention, we will miss something.
I mindfully practice it every day, especially while mixing: as Sometimes that thing we miss can be show stopping.
thinking human beings, we have a finite amount of atten-
tion. Code uses the metaphor of currency to explain how our JUGGLING ACT
fixed amount of attention can be quantified and budgeted Modern advancements in live audio have made mixing a more
for expected use. complicated challenge than it was just 10 to 20 years ago. More
Using his example, let’s say I have $10 worth of attention. inputs, more outputs, more screens, more levels of control and
That’s the total fixed amount of attention my brain can provide the incessant inclusion of virtual “gear” insertable into our
under full concentration. To accomplish all of my job, I must mixes as digital plugins.
budget that attention so that each individual task is properly
monitored and controlled while still keeping an eye on the
multitude of things that could go wrong, or that might benefit
from a bit of fiddling.
Code writes about spending his $10 worth of attention on
maneuvering motorcycles at high speeds and hurling them
through chicanes and hairpins without making contact with
the 40 other people who covet your spot. His budget consists
of things such as spending $1 on his tachometer, 50¢ on the
asphalt conditions, $1.25 on the motorcycles around him, $2.25
on his tire adhesion, $3 on the next braking marker, and so on.
Every single thing we look at, listen to, analyze, or compare
requires attention. We can’t create additional attention, we can
only utilize what we have and make the most efficient use of it
to help accomplish the job. By creating an organizational system
Code used his metaphor to reinforce his observations about
the brain’s limited ability to multitask. We tend to think we can requiring minimal amounts of attention
always “keep up” with just one more detail. That our brains are to process, we can stay on top of issues
elastic enough to fit more data points or musician monitor mix
requests into our attention span. with reduced fuss and distraction

In my early club days, I had fewer than 24 channels input and so that we can quickly and efficiently keep up with what our
six channels output – including monitors – from FOH. Now I inputs are doing and how we should react. When possible, using
have 64 or more input channels and six to 12 output channels scenes to automate repetitive tasks as well as employing a SPL
nightly, as well as multiple recording paths to manage. meter to help keep show levels in check to avoid mixing too
While I’ve trained my brain to keep up with a few more data loud. Arranging the patch list and channel layouts to minimize
points, the same problem still applies. Everyone eventually reaches confusion when troubleshooting a problem (i.e., minimal soft
a point where our ability to keep up becomes overwhelmed and patching).
we miss something. We all suffer from too much multitasking. The latest few generations of digital consoles have incorporated
It’s an inherent necessity in live audio, but it’s also our worst the use of colors to organize and identify input and output groups.
enemy. A busy monitor engineer juggling dozens of pieces of Matching subsnake labeling to use the same colors will make the
vital mental information simultaneously while still keeping patching of those groups easier to identify and troubleshoot.
up with mix requests is just one example of how our job can
overwhelm us with a multitude of open-ended decisions and PRACTICING CONSERVATION
possibilities. By creating an organizational system requiring minimal
Which brings me back to Code’s point. We must budget our amounts of attention to process, we can stay on top of issues
attention. Some things make our job easier. Clear labeling is with reduced fuss and distraction. Any effort made to get
probably the most important detail benefitting our attention organized before things go wrong can greatly improve our
budget. Physical things like microphone cables, subsnake boxes, ability to troubleshoot problems because we’re less likely
rack panels and cases certainly, but also virtual things like digital to squander our most precious resource: our attention. LSI
console output buses and in-ear monitor transmitter labels can
alleviate having to keep those details in your attention budget. Chris Mitchell serves as FOH engineer for Umphrey’s McGee, a
Using a real-time analyzer to monitor frequency response and very popular rock band noted for experimenting with a wide range of
level reduces the need for our brain to keep guessing where the musical styles. His hobbies include rebuilding vintage motorcycles and
frequency issues are. Building screen layouts on digital mixers mixing consoles. Read more by Chris at flyingeyepro.wordpress.com.

Reality Check
RIGHT FOR THE JOB

Key factors of
mixing consoles.
by Aleš Štefančič
T
wo of the most common ques-
tions I receive during private
lessons in my “Guerrilla Mixing”
course are “What’s the best console?”
and “What console should I buy?” The
subsequent conversations reveal that the
answers to these questions actually mean
different things to different people.
With that in mind, here are factors
that determine why I prefer to work with
particular consoles. However, they can Allen & Heath dLive
be summed up pretty simply: The best
console is the right one for the job. alities are fickle and stubborn and tend to These factors must always be accounted
In other words, there is no single defin- rear their ugly heads right before a show). for. You can’t operate a summer festival
itive answer. Different consoles are made A console installed in a venue might be show in the August heat if the system
with different applications in mind, and have issues with proper ventilation or vari- components might not work in that
many cover a rather specific segment of ous operators bringing their session files on environment. For me, the number one
live audio. True, a single console might suspicious drives. If used for touring, there mark of a great console is its reliability
cover the majority of applications, but it are a number of adversities to be endured during the most demanding conditions.
certainly wouldn’t be the optimal choice – load-ins/load-outs, transportation, rapid It’s more important than the sound, user
for every event. Broadcast has completely changes in temperatures and humidity, interface, the network protocol – I need a
different demands than musical theatre, dust, power surges, accidental liquid spills mix system that gives me the best chance
which is quite removed from classical – in fact, sometimes it is a small miracle of successfully finishing the show.
concerts, and so on. they can withstand all the cruel conditions
Even within a manufacturer’s product we tend to expose them to. SUFFICIENT I/O & COMPACT
line there are usually models designed Not only that, but they have to inter- FOOTPRINT
and more heavily promoted for one pri- face with stagebox units, other consoles, You can have a favorite console at your
mary segment, due to specific function- various networks and remote access, disposal but if it can’t meet all I/O
alities either on the software side or the which provides additional potential demands, then it’s not right for the job.
actual hardware itself. However, there points of failure. I can’t even count the A console must be able to meet all input
are some common questions and consid- times I thought there were issues with a and output needs, as well as a bit of addi-
erations to keep in mind when deciding console that turned out to be a bad cable tional “wiggle room.”
which console to employ for a given job or a stagebox gone haywire. Even on tours carrying their own gear,
at hand, provided you have more than Many manufacturers design equipment working with the same artist for a lon-
one option available. with robustness in mind – it doesn’t matter ger period of time, somewhere down the
in what order the devices are plugged in or line there might be a demand to accom-
RELIABILITY turned on, they just work. However, others modate a special guest star appearance
Mixing consoles are machines (or to say can be quite demanding on the operator or a recording session of a live show. If
more specifically with respect to digital to adhere to a specific order of operations. a console doesn’t allow for these types
boards: computers with dedicated inter- Further, some models might be designed of additions, well, you’ll have to find a
faces), and as such they eventually break to withstand higher differences in tempera- replacement and reprogram the entire
down and/or show signs of developing their ture while others are more conscientious show (burdening yourself with additional
own personalities (usually those person- about dust management. work and the production with additional

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REALITY CHECK
cost), or tell management it can’t be done done by a clever user interface layout that
– which, in turn, could potentially mean enables us to be a mix engineer as well as
you’ll be looking for a new employer. a console operator, and this is definitely a
However, it also works in the opposite major factor for me in determining what
direction – overkill can be just as bad. If console to use. Particularly for touring
you’re certain the performer needs 24 engineers that don’t travel with their own
inputs and the entire show can be han- equipment, the ability to be fast on an
PHOTO CREDIT: JOSEPH LOTT

dled with 32 inputs, it’s best not to carry unknown console is a major contributor
a large-format console with the ability to the usability (and likeability factor).
to manage 192 channels. Considering
the appropriate footprint can score huge SONIC SIGNATURE
points with the production and manage- And there it is, the topic many of us
ment team, organizers, smaller venues, love to discuss the most: how a console
and so on. Remember, every seat sold in sounds. I agree the different consoles
the house counts. A decision that means sound different, determined factors such Waves Audio eMotion LV1
two more tickets are available at every as preamp construction, quality of con-
show because of reduced real estate at version, internal effect units, EQ curves
front of house FOH world is a desirable and shapes, types of compressors and
outcome. After all, those sold seats help analog gear emulation, and more.
pay for your fee as well. However, as with all sound-related
conversations, we don’t really have the
USER INTERFACE & SPEED vocabulary to express the differences.
The fastest digital console interface for What is the sonic difference between a
any operator is a well-known one. If you’ve “smooth” and an “aggressive” console?
worked on a console for a while and feel Or the difference between a “classical”
confident in where things are laid out, and a “rock ‘n’ roll” preamp? Can they
then your speed and accuracy will increase. be quantified beyond standard technical SSL Live L200
However, some graphic user interfaces specs that manufacturers provide, and
(GUIs) are more user friendly than others. how does that affect our decision making? myself. Let’s just do it with cool heads
I always say that a well-versed engineer On this topic I offer a very unpopular that prevent the owners/users of one
should be able to operate any well-de- opinion – to me, at least, it doesn’t really manufacturer’s console to scream obscen-
signed console after about 10 minutes of matter that much. Coming from concert ities at the users of the competition.
unsupervised tinkering. Some manufac- sound, I truly believe that when you con- Ultimately, your personal choice for the
turers approach the user interface with sider the sound of the venue, sound of “best” console will be influenced not only
that mentality while others rather offer the PA system, the microphones used, by these factors, but also by familiarity
a myriad of options that, while needed, and most importantly, the act on stage, with a certain brand, post-sales support
clutter things up and and make them the console’s contribution to the overall that’s provided (or not), and personal rela-
more challenging to operate. sound is a very small percentage number, tionships built with dealers and represen-
Figuring out the most common func- probably less than 10 percent. tatives. Nothing should dissuade us from
tions, such as how to engage phantom I agree that we should fight tooth and exploring new products, new technologies
power or a polarity switch without ask- nail for every percent for our audiences, and new approaches, and discussing them
ing someone, is a great starting point. If the acts we work for and, ultimately, for with the manufacturers as well. Only by
you can easily control send levels either ourselves. But in the grand scheme of doing that can we shape the future of con-
with rotary knobs, faders or touch, you’re things, I much prefer a reliable console sole development and have even better
golden. However, if there needs to be a with the proper channel processing ability tools at our disposal. LSI
house operator present to do a simple that doesn’t produce my favorite sound
one-to-one patch, then someone failed at as opposed to the best-sounding console Aleš Štefančič has served for more than 20
making a well-designed interface. that makes me anxious on every show, not years as a front of house/monitor engineer
It can be argued that knowing the knowing if there are enough channels or in addition to being a technical director and
consoles is our job. That’s true, but we if I’ll have to spend most of my prep time mix engineer for the band Siddharta. Based
can’t become intimately familiar with hunting down a show-threatening issue. in Slovenia, Europe, he’s also a musician and
all functions, shortcuts, tips and tricks if This doesn’t mean that we should aban- project studio owner. Go to gainmedialab.
we’re switching consoles on a daily basis. don the conversation on how consoles com for more of his articles and a roster of
So, the majority of the work has to be sound, and I love participating in them upcoming online courses.

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Roundtable
PHOTO CREDIT: MICHAEL LAWRENCE

Hey! That’s Jim Yak (Yakabuski) mixing Peter Frampton and band last summer.
MANAGING THE SPRAWL

A variety of approaches 100 songs to choose from; in addition, the setlist can and does
change during the show, so I do use snapshots. I could dig myself
in efficiently dealing with into a hole fairly fast if I was using them, so I rely on my fader
banks. I work on a DiGiCo SD5 so I can get around my channels
large channel counts. pretty easily, setting them up to have everything I need at all
times on the surface. My left fader banks are most of my cues
by Live Sound Staff and my right banks are my singer and his inputs.
Then I start to group the rest of the channels by band member,
so all of Stone’s inputs get a bank, and so on. No one really has
The question this time: How do you handle large channel counts a whole band mix so this works well. I’m also fortunate that
(i.e., DCA/groups/channel banks)? mixes (around 40) are consistent, rarely changing drastically
during the show. The main thing for me is to be able to watch
Karrie Keyes (monitors): We just finished rehearsals for the band and be able to mix without my head in a screen, be
a tour (before it was postponed) and we were well over 100 able to access my inputs quickly and getting things committed
channels for a six-member band. I stopped counting at some to muscle memory.
point. Several of my channels are duplicates to suit the needs of
different band members, i.e., one wants the kick drum “clicky,” Christopher Grimshaw (FOH): It’s rare that I have to deal
another doesn’t want any high end, etc. Also, some are for cues, with really large channel counts – I try to keep my setups as
so I can ride solos or they’re needed for intros, etc. sane as possible in order to avoid these headaches! That said,
Anyone who follows Pearl Jam knows that the setlist is dynamic if I’m in a situation where I’ll be dealing with lots of channels,
and is never the same from night to night, and there are well over I do the following:

Make the channel list as logical as possible. For me at FOH, On my most recent tour with Elvis Costello the channel count
the order will be similar to how I see things on-stage: vocals 1-5 was close to 100 with 70-plus inputs from stage, plus effects
will be from my left to right, for example. That means it’s quick returns, announce mics, talkback mics, etc. I was using a Midas
and easy to dive into the channel banks and grab something. ProX. Elvis rarely follows a set list and switches between play-
I don’t mind skipping channels to keep things grouped nicely, ing electric guitar, acoustic guitar, piano, and several different
either. If the desk I’m working on gives me 16x faders at a time vocal microphones (without warning) throughout the show.
and 1-13 are taken up with vocals and some instruments, I’ll It’s not conducive for using snapshots or scenes because you
start the drums on Ch17 so they’re all on one set of faders when never knew what’s coming at you and have to be prepared for
I come to work on the drum mix. anything at any time.
Assign DCAs and etc. ahead of time, including FX! If I have I don’t have time to be searching for inputs I need, so I mix
to condense it down to 8x faders to mix on, it’ll be something it very analog style and have to get creative with using POP
like Lead Vocal, Background Vocals, Guitars, Keys, Bass, Drums, Groups, DCAs and Mute groups. We also have 22 keyboard
Vocal Reverb, and Drum Reverb. Of course, that depends on the inputs and a very active keyboard player who never plays the
act. I spend most of the gig mixing from the DCAs, but if there’s same thing on the same keyboard twice. This makes it necessary
something particular that needs work, I’ve still got my sensibly to keep the keyboard inputs on the surface as much as possible
arranged channel faders to fall back on. I spent a lot of my for- because I’m mixing those inputs all night long.
mative sound-engineering years mixing traditional folk bands, Since the ProX has 16 input faders on the surface and uses
where vocals always came first, and that’s something I’ve stuck the DCAs and POP Groups rather than layers, I built my DCAs
with: My first DCA is always Lead Vox, and the second is always as usual and used my Pop and Mute Groups to create “pseudo
Backing Vox. They’re the faders that I want to be able to grab first. snapshots.” For example, one POP Group was for songs where
I occasionally use subgroups to process a few similar inputs. Elvis was at the piano, two of the Background Vocals switch
For example, a bit of fast compression on the overall drum mics, and the keyboard player moves to the B3 and other key-
mix can help reign in a drummer that’s suddenly hitting 10 dB boards. The POP Group brings everything I need to access to
harder. With the amount of processing available on modern the surface quickly for those songs.
digital mixers, though, there’s enough processing at the channel I also had a few specific FX cues for two or three songs, and
level that I rarely need the extra processing at the group stage. since I never knew where those songs would show up in the
On a similar note, though, putting all the backing vocals through set, I built my Midas FX rack with all effects loaded and would
a compressed subgroup can keep them from overwhelming the control them quickly via the Mute Groups rather than having
lead singer, while if only one or two of the backing singers have to change effects settings or go to the actual channels to mute
a part, the compressor will allow a bit more level through. It’s and unmute as needed. Again, snapshots/scenes don’t work
not quite auto-mixing, but it’s just a way of getting the desk to well for this type of show. I used the B section of the ProX for
keep an eye on things for me. the vocal effects channels because I didn’t have enough DCAs
In conclusion, keep it logical, and plan ahead. Figure out the for a dedicated Vocal FX DCA. I tend to mix those and mute
sort of adjustments you’re likely to want to make to your mix them between songs which I typically do from the DCA. Keep-
and set your groups and DCAs accordingly. ing them on the surface in the B section gives me easy access
whenever needed.
Michelle Pettinato (FOH): When mixing an act with a large I also use POP Groups for things like talkback, playback,
channel count on a digital console where there are a limited etc. I have one POP Group that contains the walk-in music,
number of faders available on the surface, I put a lot of thought intro/outro song, my talkback to stage, the monitor talkack
into my workflow and how I want my inputs to populate the to me, audio from video, announce mic, and other ancillary
surface. It’s all about control and efficiency. I group things stuff like that.
together in ways that I have as much control over things with For another example, I recently mixed an artist with roughly
the fewest number of faders and banks/layer moves. 80 inputs that combined a live band, tracks, DJ, background
I always make use of DCAs and sometimes groups no matter vocals, and lead vocals on a DiGiCo SD7 where I had the luxury
what the channel count. Typical breakdown is DCA for Drums, of 48-plus faders on the surface. I built my fader banks as such:
Bass, Guitars, Keys, Band, FX, Vocal FX, Background Vocals, Drums 1, Drums 2, Guitars/Bass/Keys, Instruments, Tracks,
and Lead Vocal. I like to mix from DCAs and build them so Vocals, Effects, ancillary stuff (pink noise, talkbacks, walk-in
that each musician has their own dedicated DCA with all of music, etc.).
their instruments. This way I have control over each musician’s I mixed on DCAs (Control Groups) as usual, with them pop-
inputs with one fader. I like to assign all of the instruments ulating the lower center section. The three remaining fader
and tracks, to one additional Band DCA; reason being, if I find sections allowed me to keep a large amount of inputs on the
the vocal is getting lost under the music I can bring the entire surface, which proved incredibly helpful. I kept the vocal chan-
band down easily with one fader while preserving the balance nels (lead with multiple mics, backgrounds, DJ, and guests) on
between the individual instruments. one section at all times – I like to have the lead vocal always

ROUNDTABLE
available. Tracks were on another section where I always had a sense to me (and probably only to me). For the most part during
visual on what was coming at me and from where (this would a show I stay in Bank 1 and 2 unless I need to touch a specific
change daily), and the final section was four layers of live band. input. Also, these two banks may contain copies of inputs from
I could flip between whatever was needed for solos, etc. the other banks along with groups, etc. The center section is
I find generally once drums are dialed in I rarely need to usually banks that are groups, DCAs and matrix outputs that
change things so I will group drums together in one (or two if are in order for quick access. There may be copies of individual
needed) banks and set it and forget it. Instruments like guitars, groups, DCAs, matrix outputs in Bank 1 and 2 as well – I basi-
keys, etc. tend to need more managing so I try to keep them all cally call them my “show” banks, providing access to things I
on one bank for easy access. require quick access to.
Further, any vocal channels (particularly a Lead Vocal) are
Becky Pell (monitors): My first port of call for managing large copied in the same place in all banks, so if I’m buried in my
channel counts is setting up my fader banks in the way that input banks and working on something, I can still reach a vocal
makes most sense for my workflow – in these days of digital quickly for effect cues, etc. If the lead vocal lives on Fader 25
desks it’s so easy to break free of the channel list and do what of Bank 1, it gets Fader 25 on all banks – I always have access
works for me. Typically, I have all drums and click track in one to it, no matter what. I only do this with vocals.
bank (or two, if we have a gear-heavy drummer or additional Also, for possible emergency scenarios, I make layers that
percussion), then keys, guitars and bass in another, and tracks are copies of opposite fader banks. So, for instance, on Layer 2
in another. They’re all on the left side of my desk, and then I of Bank 1, Faders 1 through 12 are a copy of Bank 1, Faders 25
always have the vocal bank on the right, as well as a bank of through 36. (Confused yet?) So, I have a copy of an opposite
other musical inputs (say, strings, brass, etc.) if they’re part fader bank if an entire fader bank goes on the fritz or one fader
of the show. My “utility” inputs are always to my right as well, in that bank malfunctions. Remember, gear breaks and I always
low down in the banks – things like talk mics, pink noise, all try to leave myself an out. Don’t get caught in the middle of a
the stuff that’s less frequently accessed. show without the ability to get at something.
I don’t use groups at all, but I use DCAs a lot. I have one for Finally, I always land every input and fader, even channels I’m
all hard drive track content, so I can pull it down if some editing not using. I don’t ever want to be in a situation where there’s a
is happening when musicians want to keep rehearsing (and I’ll channel that is open and not landed. If someone plugs something
make the mix to the person doing the editing pre-fade). I use into that input, by accident or otherwise, and it is not landed,
them to safeguard what’s coming out of wedges and side fills you’ll never be able to see what is happening with that open input.
too. For example, with my current band there are four singers If this happens to you (raises hand), you’ll never do it again.
who are all either on or off stage at the same time. I don’t want
a performer’s mic live anywhere on stage – including to other Ryan O John (FOH): As it turns out, I only have two hands...
musicians – when they’re offstage, but they still want it in but that’s what snapshots and events are for – they’re my extra
their own in-ear monitors for peace of mind. So, I split the mic hands! Even in shows with 100 or more channels, for the most
down two channels, one of which goes to themselves and one to part, with some exceptions, only 50 to 60 of those inputs are
everywhere else (which allows me to EQ them differently too). being used at any given time. I still don’t have 50 to 60 fingers
The “self” one stays live at all times, the other is controlled by though, so those inputs need to be stemmed down to some
a DCA that I can pull down when they’re offstage. controllable number of faders and knobs. My typical layout:
Finally, I’m a big fan of macros. With everyone on IEMs, I’m inputs, groups, and VCAs all interspersed across the surface.
often as much a switchboard operator as a monitor engineer, so The idea is to get as many inputs into as few faders as man-
to ensure I can easily have control over, say, whether the band’s ageable but still give you good control and quick access to the
talk mics are going to FOH’s shout speaker (which might be desir- layers underneath. So, this could easily be achieved with VCAs,
able at sound check but not during the show), I’ll set up a variety such as being able to put your entire drum kit into a single VCA,
of macros to give me fast access to whatever functions I need. all bass inputs into a Bass VCA, all guitars or keys or vocals,
etc., until all inputs are covered.
Ken “Pooch” Van Druten (FOH): I build banks of things that But VCAs have their limitations, the first being that they’re
I prioritize by importance and how often I need access to them. actually just a control group and don’t typically have metering;
Bank 1 on my console is often a mixture of input channels, and the second being limitations of certain platforms – most
groups, DCAs and matrix outputs. Anything that I need access analog and some digital desks only let you assign input faders to
to in a fast moment, I know that any time I go back to Bank 1, VCAs, which affects how you may want to use groups. Groups,
chances are that I have access to something I need quickly. This on the other hand, have metering, and can also add serial pro-
sometimes carries over into Bank 2 as well. cessing to the channels assigned to it.
Past the first two banks, I start organizing inputs by instru- Ultimately I see the solution as a mix of both of these to
ments. Bank 3 is often drums across the entire console, Bank 4 achieve max control from minimal physical faders. My typical
is bass and guitar, and so on. I set these up in order that makes show uses a heap of groups – Kick Group, Snare Group, Drum

Group, Bass Group, Guitar Group, Keys Group, Playback Group, you get that balance absolutely perfect and you don’t want to
Vocal Group, and Background Vocals Group, and of course more disrupt it. I usually make one DCA for the kick/bass, one for the
or less if other instrument types were added or removed. This rest of the drums, one for the rest of the band, one for vocals,
already gets me down to nine faders controlling the overall one as an FX master, and if I’m doing aux-fed subs, I’ll use a
show, but in my opinion that’s not enough control, so I also DCA as a sub/master control. These are great when you need
use VCAs. The major deciding factor between moving a VCA to them and make organizing a little bit easier.
change the level of something, and moving a group in that case I only employ subgroups when I want to process a group of
would then be: do I want to drive it into or trim it back from the channels (imagine that) – drums and large groups of vocals.
group processing, or just make it louder or quieter, wherein the Compressors can make quite an appearance in my groups. It
VCA is typically controlling inputs feeding into the group, and can be that extra little magic touch, but really I try to handle
the group is just the ultimate level of the instrument group. as much as I can going into the board so that I don’t have to
A good example of this complexity is drums, I may have mul- over-process everything. The less I need to do, the better. My
tiple kick mics, and maybe a trigger also, all feeding to a Kick techniques are truly for organization and less for imparting
Group, same for snare, and then of course there’s the rest of the myself into the mix.
drum inputs, all of which hit a Drum Group. I might also have
a Drum VCA, but if the goal of this VCA is to control the drum Jim Yakabuski (FOH): When faced with an extremely large
level into the Drum Group’s processing, then it needs to include input list (in the range of 50 to 80 inputs), I begin by planning an
the Kick Group, the Snare Group, the additional drum inputs overall channel layout on my console that’s going to provide the
that feed the Drum Group. With this setup, I can throw a drum quickest access to vital inputs, in addition to channel groupings
compressor on the Drum Group and use the VCA to drive into it that make the most sense visually. My default channel layout
harder, or to drive it less, and the group itself as the Master Drum usually involves following the input list mostly 1 to 1, and then
Level, so you can really change the intensity of the drums from I move a few important channels around strategically to place
song to song or part to part by manipulating those two faders. them on familiar and accessible fader banks. However, with
On an Avid S6L, it’s extraordinarily easy to spill out the larger channel counts, this isn’t always the best plan.
members of any output fader type, so putting a VCA or group I’m a big fan of utilizing DCAs for channel grouping, but
onto a layout means that I can quickly still access every member depending on the console I’m using, things are laid out differently
inside of that group or VCA and modify it quickly. Even if I didn’t based on the amount of DCAs that can be assigned to the Center
want to spill it, the members of the group are also displayed or “Master” Bank(s). One console brand I really enjoy mixing
on the encoders above the group, so as a good example, I leave on is DiGiCo, and the SD7 is one of the best on the market for
my toms in a VCA with the encoders above the fader showing allowing quick access to larger numbers of DCAs and “personal,
me the four tom fader levels on encoders. custom assigned” banks of channels. With the additional “upper”
One of the things to be aware of when using VCAs and groups bank of 12 faders located immediately above the 12 faders of the
though, is that if you have FX sends on input channels, and you master section, you can assign an additional 12 DCAs or faders
move that VCA, the post-fader FX sends will change in level, of your choosing for a total of 24 easily accessible faders in the
but if you change the level of the group for the input, you’re center of the console, where you happen to be standing to mix.
not changing the effect’s send level. So, unless your FX for that Other console brands like Yamaha, SSL and Allen & Heath
channel is returning to the same group you just moved, you’ll have options in their workflow to easily move channels around
be really affecting the relationship between the source’s level into custom fader banks (Yamaha), or easily maneuverable
and the FX return. fader bank layouts (SSL and A&H). With these options, it’s
easier than ever to locate important faders exactly where I want
Samantha Potter (FOH): My first layer of organization comes them and even place them on layers that will never change even
at the bank level. I make sure my channels are in the order that when an overall bank change is made. I was always a fan of the
I build them. That is to say that I consider the drums (and their Avid Profile’s “Bank Safe” feature for this very reason. I could
relationship to the bass) the fundamental part of a mix, so they place my lead vocal directly on the first fader to the right of
go first. Then followed by percussion or rhythm instruments, the DCA’s, and that’s where it would stay for the whole show!
more musical instruments next (such as brass, piano or keys How convenient…
depending on the genre), and lastly vocals. I prefer lead vocals
to be last so I don’t need to seek them out on a layer. Depend- Eddie Caipo (monitors): Large channel counts can sometimes
ing on how many physical faders I get per bank or layer, I keep be challenging with small console surfaces. What I find to be a
rhythmic instruments together, “musical” instruments together, great way of organizing a large channel count is the Layout or
and vocals together. I don’t want to have to search much if I Fader Banks feature, where I can create a collection of faders
can at all help it. Whenever I can I try to keep all my inputs on in any order and/or combination (ins/outs/VCAs/sends etc.)
a single layer, but that’s often not a luxury I’m afforded. with my most important channels on a per-song basis, so I have
I really only use DCAs as a remote control. They’re great when what I need, when I need it, right in front of me.

ROUNDTABLE
When mixing FOH, I use both VCAs and groups – usually Scott Holtzman (FOH): The key to handling large channel
two groups for drums. Group 1 has the whole kit and Group 2 counts is organization. Start with a plan, study the input list
is the kit minus cymbals and hi-hat, which is pretty “squashed” and create meaningful groups not just on instrument type but
(heavily compressed). I blend that with Group 1 for a punchier also tonal grouping. For example, putting drums, bass and low-
more “in your face” drum sound with parallel processing. Group end synths on one group, strings in another, then brass. Lead
3 is bass (DI+Amp+FX), 4 is Guitars, 5 is Keys, 6 is Background instruments and vocal will need their own faders.
Vocals, 7 is Lead Vocal and 8 is FX. My VCAs are very similar: Once you create groups, DCAs and subgroups are the next
1 is Drums, 2 is Bass, 3 is Guitars, 4 is Keys, 5 is Playback, 6 is piece of the puzzle. They allow the logical groups you created
Background Vocals, 7 is Lead Vocals and 8 is FX. to be managed with a single fader. Lastly, create custom fader
When mixing monitors – and if my star’s IEMs are on the layers that put together the groups and lead faders so you have
Main L-R outputs – I use groups and VCAs the same way I do access to the majority of the mix on one layer.
when mixing FOH. But if I have all the IEM mixes on Aux only, If an orchestra is part of the production, consider a second
then I just use the inputs on sends on fader to mix. That said, desk and mix engineer for the orchestra mix. The main mix then
the Avid S6L now offers VCAs on Aux sends when on Sends on only has to deal with the input from the orchestra engineer.
Fader mode. Say the guitar player asks me to bring all the drums This approach also works in theatrical productions.
up but leave the blend as is. Instead of grabbing all drum faders Speaking of theater, managing large amounts of wireless
and moving them. I can assign them to a VCA and it will act as systems is a difficult challenge. Consider using multiple mute
a trim for that mix without affecting the Main faders (since I groups, organized by scene. The mute groups allow you to focus
run my Auxes on post). I find this feature to be brilliant. on your active channel faders for your line by line mixing.
Using groups and VCAs (or DCAs) helps me consolidate Often, high channel counts are the result of multiple acts
all inputs in a more organized manner, allowing me to make at festivals. Organization needs to extend to the stage. Label
broad strokes when it comes to the music and vocal balance. everything! Use multiple sub-snakes, and if feasible, swap
With groups, I love processing them to create a certain color multipins for drum risers or other moving elements.
for the overall sound of that group, allowing me to glue the
instruments in that group without having to use too much EQ Dave Natale (FOH): When using one of my usual PM4000 ana-
or compression on the individual channels. log boards, I assign all of the channels directly to the Stereo Mix
Bus – I don’t use audio subgroups, but rather, the eight VCAs.
Scott Mullane (FOH): I try as much as possible to lay out the The PM4000s that I work with have 40 mono and 12 stereo
console with as much of the “money channels” and channels channels for a total of 64 channels in one frame. (I’m not even
that require constant attention on one layer. I achieve this in sure if 64 channels is considered a large amount these days.)
a kind of backwards way, laying out the top layers as I would a However, in the past, I’ve utilized two PM4000s for Fleet-
standard festival patch, which usually leaves one or two layers wood Mac and Motley Crüe, for example. Even in these rare
empty at the bottom of the console. So, I make the bottom situations where the channel count can go as high as 128 over
layer my “money layer.” I do this because I spend so much time the two consoles, I still only use the eight VCAs. The PM4000
on festival patches and smaller band layouts that my brain has the ability to link the Audio Subs, Mute Groups and VCAs
is used to this layout, so I leave the top layers in this type of between both of the consoles so that either can be designated
configuration. I’m used to it and I don’t have to think about it. as the master, controlling it and the other console.
I then decide on how I group the inputs and prioritize the When I’m absolutely forced to use a digital console, I arrange
DCAs to a top control layer on one center bank of faders. Drums, all of the input channels in a way that makes sense to me on the
Guitars, Keyboards, DIs, Strings, Choir, Vocals, Background layers, but since I find mixing on 24 faders a completely silly and
Vocals, Media, FX, etc. These DCAs are my main control for the foreign way to mix, I rely on the 12 DCAs so that I don’t have
mix and DCA spill becomes the fastest way to access anything to waste too much time and watch too many cues go roaring
on the board no matter where it is. I’m not a huge user of sub- past while I’m looking around for things. Over the past 10-plus
groups, with usually only three to four in my layout. However, years, I’ve seen far too many engineers blow what could be an
I assess if any of the instrument groups will be best served with actual audio mixing cue(s) because they’re searching for an
group processing such as EQ and compression. Instrument input channel or fooling around pretending that they can hear
groups like strings, choirs etc. are served well sometimes with the difference that they think that their plugins are making.
a simple group EQ. I know that everyone has their own opinions, but I still
So, console layout, DCA assignment and group assignment maintain that I can move around faster doing a mix on analog
in that order are my priority when planning and programming consoles than anyone else would be changing layers on a digital
my console. DCA spill is my best friend when mixing. The mix console. I’d also like to point out that I do whatever I can in
itself, like any mix requires the same attention to space and order to keep the channel count down. I’ve had the good fortune
musicality, leaving space for the key instrument which are still of not having been subjected to mixing a band that needs Pro
likely to be vocals. Tools (for one reason or the another…). LSI

Business Matters
MARKET CURRENTS & PATIENCE

Key steps in
building an AV
(and any other)
business.
by Peter Janis
C
hiseling stone is an arduous task.
Author Ken Follett’s novel “The
Pillars of the Earth” describes
how generations of stone masons would
painstakingly undertake the building of a
cathedral over a century or more. Carving
stone takes patience. Repeated strikes
with a hammer and chisel slowly develop my PADI scuba-diving classes was the Our “mantra” was providing products
fissures in the rock which eventually turn way currents work on the shoreline. The that were better at transmitting sound
to cracks and ultimately, a small piece of instructor started by saying there is no without artifact while also being better
granite falls off. An experienced stone such thing as a rip tide. The ocean is made at eliminating noise.
mason looks at the stone before begin- up of currents, and more often than not, The packages went out in February and
ning, carefully examining the direction people drown due to exhaustion as they then we waited… and waited. And then
of the veins before selecting a tangent. attempt to overpower the ocean’s current, waited some more. Nothing happened.
Building a business is very much the not their inability to swim. People hate change. Just because a bro-
same. Rarely do we see instant success. I recall being on a beach in Barbados chure shows up in the mail is usually not
For many entrepreneurs the wait is like when my daughter Darryn – a very good enough of a reason to change the “speed
watching paint dry. Unless one has the swimmer – got caught in the current. She dial” on the phone.
wherewithal to stay the course, one will was panicking as the current was pulling
all too often give up. her out to the ocean along a jetty. No mat- One can’t count on
It takes a lot of hard work to get good ter how hard she swam, she could not fight
at anything. Malcolm Gladwell wrote a the power of the ocean. I swam out, had disruption to open
book on the subject, noting that luminar- her follow me around the jetty where cur- doors. Sometimes, it’s
ies such as Microsoft co-founder Bill Gates rent was swirling back towards the shore.
and ice hockey great Wayne Gretzky spent We both suffered some cuts and scrapes more about staying the
10,000 hours honing their craft until they as we climbed out on the other side of the
stone jetty but lived to tell the tale.
course
achieved a degree of success. In my case, I
started in music retail where I learned to But then all of a sudden, orders began
sell, moved to pro audio where I learned SHIFTING FORCES to come in. Sales went from about $5,000
to design, then to distribution where I In early 1992, we launched Cabletek, the a month to $15,000 pretty much over-
learned to plan, travelled across Canada forerunner to Radial Engineering. The night and continued to blossom from
countless times to get to know my cus- first thing I did was set out a market- there. What happened? In our case,
tomers, and graduated into manufacturing ing plan that included putting together affordable digital recording systems such
while expanding travel throughout the a catalog of products, a detailed price as the Alesis ADAT and Tascam DA88
United States and eventually the globe. list and whatever marketing materials began to appear and noise that in the past
One of the most important things we could muster up. I then put together that may have been masked by tape-hiss
I learned is that just as you can’t fight a list of clients and mailed out several was now apparent. Mogami cable became
mother nature, the market is always right. hundred packages to music stores, sound the go-to brand for the most demanding
The most valuable teaching I derived from companies and large recording studios. recording studios.

Simultaneously, artists were demanding direct boxes for its stores only to eventu- the ability to take advantage of market
larger mixing consoles with more audio ally return them because they didn’t sell. disruptions when the occur. These forces
channels to bring their studio production The combined power of largest retailer and can eventually shift the currents in the
on the road. To address the need, we cre- the largest manufacturer could not cause a market… just be patient! LSI
ated a large-format concert snake called the market shift. This puts in perspective how
Radial Convertible that had more channels powerful market currents can be and how Peter Janis is the former CEO of Radial Engi-
than the competition and was outfitted difficult they are to shift once in motion. neering, Primacoustic, Hafler and Tonebone.
with Jensen transformers. Disruption in Building a rock-solid foundation for He now runs exit-plan.ca where he assists
the market created an opportunity. a business or a cathedral takes a lot of business owners with their strategic planning,
However, one can’t count on disruption hard work, careful attention to detail and growth and eventual retirement.
to open doors. Sometimes, it’s more about
staying the course. Many attribute The
Rolling Stones’ success to simply being
there – for being a consistent force.
During talks with our sales team, I
would often draw a large cruise ship head-
ing north and then a small rowboat push-
ing northwest, exerting a huge amount of
energy with the impossible task of shifting
Sumptuous Sound
the ship’s direction. I would explain: “The Intuitive Interface
ship is the market while the rowboat is Powerful Performance
our company. Just as it’s super hard to
move the market in our direction, once DIGITAL WIRELESS
the ship is on course, it’s equally as hard

for another company to push it off course.”
MORE THAN PRICING

Before Radial came along, a direct box was
simply an afterthought interface. We con-
ducted hundreds of educational clinics and
generated market awareness expounding
of the importance of a good direct box and
after years of hard work (10,000 hours!),
created a new retail category.
With this newfound opportunity, a
major pro audio brand decided to get into When you need a wireless
the direct box game. To give one a sense of
scope, this brand is a division of a conglom- microphone system that touches the
erate, one of the largest audio manufactur- very soul, be sure to audition the
ers on the globe with sales of over $1 billion.
D-Squared.
To break into the market, this brand
offered Guitar Center (GC), the world’s
largest music retail chain, an amazing price. A single listen and you’ll know the
Because Radial was the market leader and
had several SKUs that ranged from $99 to difference. One walk test and there
$199, GC asked us to respond with a coun- will be no turning back.
teroffer. I told the buyer that Radial was not
a discount product and that professionals
choose Radial because the product works. Treat your ears and your soul.
Folks do not buy on price alone. Email sales@lectrosonics.com
He did not seem to care, insisting we
either match the price or suffer the conse- to schedule a demo today.
quences. I held my ground. GC proceeded ®
to order thousands of our new competitor’s
D2 Vivid - Live Sound - Vertical Half.indd 1 1/24/2020 4:13:31 PM

Spotlight
TYPICAL LOCAL GIG

The nuts and bolts of
getting it done with
corporate events.
by Carl Stewart
A
s a non-touring local audio freelancer in Orlando, Figure 1
my typical gig is nothing like touring with a band. I
do corporate events almost exclusively, which can be The mains and delays are passive loudspeakers on stands. The
equally demanding if not more so. In this article, I’m detailing aux sends do not have delay function, so aux outputs 1 and 2
my setup and signal path with the acknowledgement that there are routed through a matrix in order to delay the output by the
are as many different ways of doing things are there are those appropriate amount. In the latest firmware update, Yamaha has
of us doing them. My purpose is to provide some ideas based added four matrix outputs with delay capability, and I find four
on what works for me. to be a sufficient number of delay outputs for corporate events
The particular event that I’m presenting here is a gathering like this one. In fact, for this event, I used only two of the four.
of about 800 in attendance, and I’m deploying my personal
gear, as opposed to being called in to operate equipment that FURTHER FACTORS
belongs to the in-house provider, a rental house, or an AV If you’re new to all this and wondering what delays are, they
company. My mixer is a Yamaha TF5, and you can see my I/O are additional loudspeakers that cover audience areas a signif-
setup on the offline editor (Figure 1) or the photo of my icant distance from the mains. The audio signal sent to these
board (Figure 2). loudspeakers is delayed by a certain number of milliseconds
so it’s in sync with the arrival of sound from the mains, thus
My Input List: avoiding something that sounds like a really distracting echo.
Channels 1 – 4: Wireless handheld microphones The delay time is determined by the distance of the delay
Channels 5 & 6: Wireless lavalier microphones speakers from the mains, figuring the speed of sound at roughly
Channels 7 & 8 (linked*): Video playback laptop, R&L 1,130 feet per second. It’s affected by temperature, so I use
Channels 9 & 10 (linked*): Music playback laptop, R&L 1,130 ft/s as a starting point and adjust as necessary. What
Channels 11 & 12 (linked*): Live band that comes with self-con- will really bake your noodle is that the temperature changes
tained audio (more about this later) as the room fills with people!
Channel 13: VOG (“Voice of God,” or an announcer).
Channels 14, 15, and 16: Unassigned but available if needed.
*On my TF5, as on most (if not all) digital boards, it’s possible
to link two adjacent input channels, so that when either fader
is adjusted, the linked fader moves with it. Also, any adjust-
ments in equalization and other functions are duplicated on
the linked channel.
My Output List:
Mains
Aux 1 & 2 (not linked): Delays
Aux 3: Front fills
Aux 4: A pair of active subwoofers, positioned at the mains
Aux 5: Foldback (a pair of passive stage floor wedge monitors)
Aux 6: A Hotspot-style personal monitor at FOH
Aux 7: Record send Figure 2

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SPOTLIGHT
For this event, I needed only two

sends for the delays (left and right), so
I have two aux sends routed through
two matrix sends (Figure 3).And since
the subs are located with the mains, I
don’t delay either one of those.
Speaking of left and right: stereo
means nothing in live sound unless lis-
teners are located equidistant between
the left and right loudspeakers, and even
then it’s not foolproof. The reason I like
to mix in stereo is so I can pan the left
or right loudspeaker off when someone
with a live mic decides to walk in front of Figure 3
it. This happens a lot in corporate events.
Sometimes I’m brought in to operate a system that others guitarist was also a vocalist, and perhaps also the bassist – I
have set up, and they invariably “daisy-chain” the loudspeakers, can’t quite recall. (Some days I’m doing good to remember my
driving the entire system in mono and eliminating the ability own name!) There was one additional female vocalist (I think).
to pan control, so when the presenter walks in front of a loud- The group travels with its own audio engineer, who mixes with
speaker with a live microphone, I have to shut down the channel. an iPad that controls a rack mixer. He sent me a composite L/R
I try to educate presenters when I give them the mic, but they signal – two inputs, easy-peasy. The band uses in-ear monitors,
often forget or just aren’t paying attention when they begin to and the band’s engineer assigns and mixes effects. Everything
roam, or when the Q&A mic is being passed around. For this is preset for the band, so from an audio perspective, it doesn’t
particular gig, the left and right inputs from a single source are get any easier. The band sets up and is ready for sound check
both panned to center. in only a few minutes.
On the mic channels, I’m running the Dugan automix feature I created a custom fader layer for this event, showing all the
that comes with the TF5, which I find very helpful when I have inputs and outputs, so I don’t have to switch layers to access
several open mics on a corporate gig. It’s much better than gates them (Figure 1 and 2). That’s one advantage of having the TF5
or riding the faders. instead of the TF1 or TF3.
You’ll notice that I have no effects assigned – don’t need ‘em Although it’s overkill as far as the number of inputs and
for speech. For equalization, I have high-pass filters assigned some of the capabilities of the TF Series mixers, I like having
to all outputs except for the subwoofers, which get low-pass all that real estate in front of me. For this particular gig, all
filters, essentially creating a crossover. I can copy and paste the of the inputs and sends are visible on a single layer. All of the
EQ settings from one input or output channel to another for sends are post-fader so that when I take an input fader down,
uniformity and convenience. I won’t still be hearing it in one of the sends.
I do make fine EQ adjustments to microphones to accom- In concert touring situations, front of house is generally
modate the differences between human voices, loudspeaker located at an optimal position in the audience area. For cor-
manufacturers, room acoustics, etc., but all mics have a high- porate events, however, FOH is often tucked out of the way in
pass filter to avoid clutter and muddiness in frequency ranges a corner on the opposite side of the room from the stage. I’m
that are lower than human voices. Yamaha has teamed up with sure they’d put us backstage if they could.
microphone manufacturers to create EQ structures for their On this gig, FOH (the tech table) was positioned more toward
specific mics, and they come with the TF5 as part of their effects the front along one wall on stage left, so if I was at FOH, I
library. I find that it’s a great place to start because it saves a couldn’t hear what the audience was hearing. Fortunately, it’s
lot of time. easy to connect to my TF5 with my iPad and walk the room.
<RANT ON> I really dislike it when people tap on a mic to I can even go onstage prior to the event and adjust the stage
see if it’s live. If I get the opportunity, I’ll educate presenters monitors while some of my favorite tunes are playing or while
in advance by telling them if they want to see if the mic is on, a band is doing a sound check.
just speak into it or scratch it. </RANT OFF> It absolutely floats my boat when I can walk the back of the
room during a corporate event and hear even coverage with
SOLID APPROACH crystal-clear sound that makes sure the audience understands
Now, about that self-contained band. It was a first for me; a very every word that’s being spoken. LSI
pleasant experience, and I wonder why more bands don’t do it.
There were five musicians, as I recall, with a guitar, keyboards, Carl Stewart has more than 30 years of experience as a freelance
bass, and drums. The keyboardist was the lead vocalist, the live sound engineer, primarily for corporate events, in Orlando.

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Road Test
BOSE SOUNDCOMM B40
A new comm
headset with
active noise
cancellation.
by Michael Lawrence
L
ike many live audio engineers, I
dislike wearing comm headsets.
It’s not the headset’s fault – it’s
just that I’m supposed to be listening
to the mix, so having my ears covered
presents a fundamental issue.
That said, there are a number of events
for which I do have to wear headsets –
corporate work, for one, and shows on
which I’m functioning as a playback tech
and need to call cues for the other mem- The new Bose SoundComm B40 headset.
bers of the crew.
On these events, I’m treated to the unique kind of annoy- The SoundComm B40 is sold in three variants: single-earcup
ance only understood by those who must wear headsets and with left earcup and mic, single-earcup with right earcup and
eyeglasses at the same time. Since I’m usually not excited about mic, and a dual-earcup version with a side-swappable mic,
being on comms to begin with, I can only hope that the head- which is the version that I tested for this review. Side-swappable
sets in use will minimize the discomfort as much as possible. means that if you prefer to have the mic on the opposite side,
the mic boom assembly can be detached and moved to the other
BIG IMPROVEMENT earcup in a few minutes. It’s also available in 4-pin XLRF and
Against this backdrop, Bose recently sent along two of its new 5-pin XLRM variants, making it compatible with many popular
SoundComm B40 headsets for me and other crew members intercom systems that provide monaural or binaural audio.
to check out. And I’ll start there: this thing is seriously com- The headset is also designed to withstand diverse environ-
fortable, “one giant leap” compared to the headsets owned mental conditions. Lightweight materials, intelligent weight
by the venue we were working in. We utilized it with Radio distribution and low clamping force are intended to provide
Active Designs UV-1G beltpacks (which I’ll be reviewing in long-term comfort and years of use.
the next issue).
Equipped with proprietary acoustic noise cancellation tech- GOING A LONG WAY
nology, the SoundComm B40 is designed to reduce crowd noise The SoundComm B40’s active noise cancellation feature is
and distractions while providing very high audio clarity. It’s strikingly effective, activated via a switch on the battery pack
equipped with a weather-resistant dynamic noise cancellation that is placed inline with the cable, near where it connects to the
microphone intended to optimize intelligibility and provide comms back. The pack itself takes two AA batteries and comes
far-field noise rejection to help enable clear communication with a few mounting options for either beltclip use or attaching
within a live event production team. it directly to the side of your existing comms back. (No current
The mic’s frequency response exhibits a logical, gentle low-fre- is drawn from the batteries when active noise cancellation is
quency rolloff and presence peak, which is ideal for speech switched off. The battery life is a stated 48 hours from a new
intelligibility. While my ears took some time to adjust to the set of batteries, but if they die during your show, your comms
rolloff, I thought it was a functional choice in that it significantly will continue to work just fine.)
reduced breath noise and wind rumble, which are usual sources Our stage manager, who needed a wide and free range of
of annoyance with a bunch of folks on the same comms network. movement, preferred not to have the extra pack hanging off

his body, but for folks who are more static when working
(console and camera ops) the active noise cancellation
is well worth the tradeoff – when activated, it cancelled
the loud, bassy music in the venue to such an effective
degree that it was really only audible when someone else
had their mic enabled.
As an audio operator, this is probably “too much of a
good thing,” and I’d prefer the single-earcup version so
I could keep an eye (ear) on what was happening acous-
tically, but for folks who need to work despite the sound
in the room, the dual-earcup version with cancellation
enabled probably goes a long way towards reducing fatigue
– I’m thinking spot-ops and camera ops who spend long
hours getting blasted by festival-scale PA systems. Between
the comfortable fit and the noise cancellation, wearing
this headset can be oddly peaceful.
In conclusion, the SoundComm B40 is an excellent
offering for those who operate in loud environments, and/
or folks whose work requires them to wear headsets for The SoundComm B40 package.
extended periods of time. It can be purchased through
select Bose dealers and online at worldwide.bose.com/b40. Michael Lawrence is an independent front of house engineer and
LSI system tech, and he’s also the technical editor of various pro audio
U.S. MSRP: $749.95 (single earcup); $849.95 (dual publications. Read more from Michael and reach him at precision-
earcup) version. audioservices.com.
DIGITAL
EDITION
Read Anytime, Anywhere!

SUBSCRIBE NOW
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LSI_DigitalEdition_QuarterPage.indd 1 2/26/19 11:45 AM
Road Test
AUDIO PRECISION APX500 FLEX

A recently released
software-based audio
analyzer.
by Michael Lawrence
O
ne of my first forays into audio test and mea-
surement was reading Douglas Self’s book
“Audio Power Amplifier Design.” The size
and weight of a small phonebook, it’s an incredible
journey through the minutia of amplifier design, with
The APx500 Flex in bench mode, showing a few of the multiple real-time
an emphasis on reducing total harmonic distortion
meters and analyzers available for testing.
(THD). THD+N plots generated by an Audio Precision
analyzer adorn almost every page. was able to get the analyzer working just fine with my Roland
Based in Beaverton, OR, Audio Precision is an undisputed Octacapture interface with little fuss.
industry leader in high-precision, laboratory-grade audio analyz- Upon launching the analyzer software for the first time, the
ers. The company’s APx series of hardware-based analyzers offer first order of business is to calibrate the interface, the process for
extremely low distortion, along with noise floors that approach which is outlined in “Audio Precision Tech Note #TN139,” available
the theoretical minimum, and full-featured software allows users from AP.com. The document walks through the steps necessary to
to configure and perform many different tests. As you might calibrate the digital input and output levels (in dBFS) to analog
imagine, the extremely high-spec hardware means the cost of voltage levels (dBu), so that meaningful statements can be made
an AP system can be out of reach for many potential users. about the test results and signal levels in absolute terms. This doc-
ument also outlines some of the pros and cons of using an audio
UP & RUNNING interface in place of a dedicated, purpose-built hardware analyzer.
Enter the APx500 Flex audio analyzer, a software-based product
offering the same powerful test routine capability as its breth- DUAL MODES
ren, designed to be used with any ASIO-capable audio interface Once the calibration was complete, I was able to dive into the
that the user desires. (ASIO, or Audio Stream Input/Output, software’s main interface, which sports two modes: Sequence
is a computer sound card driver protocol that allows Windows Mode and the optional Bench Mode that’s basically a collection of
software applications to connect directly to audio hardware, different test and measurement tools including a signal generator,
reducing latency and allowing the software to access multiple signal scope, FFT spectrum analyzer, RMS level meters, THD+N
inputs and outputs simultaneously.) Essentially, users purchase and frequency readouts, and more. It’s where a user would head
a software license assigned to a USB key – APx500 Flex
Key – that allows them to use the flagship APx500 audio
test software without Audio Precision hardware. (More
on software options in a minute.)
Although the bring-your-own-interface approach
obviously doesn’t afford all the benefits associated with
Audio Precision’s hardware, it does bring the analysis
software’s full feature-set to a much wider level of
accessibility. If you’re experienced with acoustic test
and measurement, you know that the noise and dis-
tortion specs of a professional-level audio interface can
be completely adequate for a lot of the tests that we
seek to carry out on the various devices in our signal
chain. The AP website offers Setup Guides for several Sequence mode, showing the Unwrapped Phase Spectrum of a transfer
popular interface options from RME and Lynx, and I function measurement.

to run a single quick test or be able to view continuous real time this way, the user can create a measurement setup that offers
results during the process of a test or repair, for example. all the needed features without paying for the unneeded.
Sequence Mode, however, is where the APx software distin- I encourage interested parties to take a spin by the product
guishes itself. This is an incredibly (admittedly, almost overwhelm- page at AP.com and check out the available options. LSI
ingly) powerful workflow that allows users to design and specify a U.S. MSRP: $3,000 (2-channel base configuration)
number of different tests and then run them all in a sequence with
a single click. The power of the automation means that multiple Michael Lawrence is an independent front of house engineer and
types of tests, using multiple inputs and outputs, can be run in system tech, and he’s also the technical editor of various pro audio
quick sequence without user intervention. The test routine runs publications. Read more from Michael and reach him at precision-
all the specified tests in a matter of seconds and then presents the audioservices.com.
results to the user for further examination.
It can also generate a spiffy report in PDF
format, complete with user-specified “Pass-
Fail” criteria. (Data can also be exported to
Excel or MATLAB formats.)
I’m familiar with the end-user-facing
aspect of these reports because in the
past I’ve sent various pieces of hardware
in to their manufacturers for service
��
and received such reports back with the
returned device. It’s interesting to be
on the “other end,” so to speak, and see
how these reports are generated. This is Whatever your professional
where the APx really shines – I can only sound needs are, you’ll find a
imagine how useful the Sequence Mode ProSoundWeb newsletter to
capabilities could be to an audio manu-
facturer who needs a quick, repeatable,
provide them.
trustworthy way to quality-check units as
they leave the production floor, or diag-
nose units when they come in for service. � CHOOSE FROM A DAILY VERSION �
I can also see the system being right ProSoundWeb Daily, the fast breaking news
at home with a production company that
needs to keep tabs on a large audio inven-
� OR MONTHLY NEWSLETTERS �
tory, and have a way for the shop techs to
quickly “sweep” a truck full of line array Church Sound Product Showcase
cabinets on its way in or out the door, Installed Sound Product Showcase
for example. Live Sound Product Showcase
Recording Product Showcase
BOTTOM LINE
The base price of the APx500 Flex system
NEWSLETTERS
is $3,000 (U.S.) for a two-channel configu-
ration including sequence mode and mea-
surement Flex Pack 1, which offers tests
for Level & Gain, THD+N, Loudspeaker
Production Test (including rub & buzz),
THAT ARE TIMELY...
stepped frequency sweep tests, pass/
fail functionality, and signal acquisition
FOCUSED...DIRECT
measurements The user can customize
the analyzer’s capabilities by choosing
additional IO (up to eight channels),
Bench Mode, additional Flex Packs con-
SUBSCRIBE
taining a diverse selection of additional Enter your email address at prosoundweb.com/subscribe
measurements, or even add individual
measurements “a la carte” as needed. In

LSI-Newsletter-Island 2020.indd 1 3/31/20 4:29 PM
Tech Topic
TRANSLATED TO REALITY
Part 2 on smart loudspeaker acoustic
measurements.
by Joe Begin is positioned 40 centimeters (15.7 inches)
from the edge of the table, with a mouth
Editor’s Note: In the previous issue (“Appli- simulator located at the table edge and 30
cation Note,” LSI March 2020), the author cm (11.8 inches) above the table surface.
provided an overview of smart loudspeakers In Figure 1, the mouth simulator is 30
(“smart speakers”) and the key aspects in centimeters above the top of the smart Figure 1: Setup for smart speaker input
testing their audio performance. This time he speaker rather than the table surface. path test.
focuses on the practical aspects of end-to-end This is because a smart speaker’s micro-
testing these devices. phone array is typically located on the phrases and sentences. The input path of
top surface of the device, as opposed a smart speaker will likely have nonlinear
W
hen conducting audio tests, to speakerphones, which typically have processing such as automatic gain control
it’s generally a good practice to microphone(s) located at the base of the (AGC). As such, it might be prudent to
adhere to industry standards or device. repeat the test at a few different levels.
to at least use them as a guideline. Smart Like any loudspeaker, a mouth sim- For speakerphone loudness ratings, IEEE
speakers are so new that there are cur- ulator does not have a flat frequency 1329 specifies tests at levels from 79 to 99
rently no industry standards for testing response; typical mouth simulators have dBSPL at the MRP in 5 dB steps.
them. However, in terms of form and func- a deviation from flatness of ±10 dB or In the analysis phase, the signal
tion, a smart speaker is similar to a speak- more within the frequency range from acquired by the smart speaker and
erphone and there are several national and 100 Hz to 8 kHz (the frequency range of uploaded to the IVA will be compared
international standards which focus on male speech). For a mouth simulator to to the stimulus signal. This will require
speakerphone tests such as IEEE 1329.[1] faithfully reproduce an audio signal such that the two signals have the same audio
These standards can be used as a guideline as speech, it must be equalized to have a sample rate. For the input path, smart
when testing smart speakers. flat response within this range. speakers typically use a sample rate of 16
Measurements to equalize (and calibrate) kHz, which enables a bandwidth of just
INPUT PATH a mouth simulator are typically made with less than 8 kHz. This sample rate is used
As previously noted, for the primary a 1/4-inch measurement microphone at a in “wideband speech” applications such as
input path of a smart speaker, a speech point called the Mouth Reference Point VOIP and newer versions of the Bluetooth
(or speech-like) signal is sensed with the (MRP), centered on the mouth opening Handsfree profile (HFP). It’s referred to as
device’s microphone array, digitized and and located 25 millimeters (1 inch) in front wideband, because it has twice the band-
uploaded to the Intelligent Virtual Assistant of the lip ring. To equalize a mouth simu- width of ordinary digital telephone lines
(IVA) for signal processing and command lator, its frequency response is measured, (just under 4 kHz), which enables clearer,
interpretation. An audio test of this path then inverted and applied as an EQ curve more natural sounding speech.
involves “tricking” the device to acquire and (a feature built into the audio analyzer). If the test stimulus does not already
save a test signal, retrieving the recorded This results in the mouth simulator having exist, it makes sense to create it at the
signal from the back-end server, and com- a frequency response magnitude that is flat same sample rate (typically 16 kHz) as
paring it to the original test signal. within a specified tolerance (e.g., ±0.5 dB the DUT output. Audio analyzers can
Figure 1 shows a test setup which is from 100 Hz to 8 kHz). usually create a stimulus signal at a
based on IEEE Standard 1329. The standard The test signal should also be presented variety of sample rates. If the stimulus
specifies that speakerphones be tested on at a known level. IEEE 1329 specifies a signal already exists, but is at a different
a tabletop approximately 1 meter wide x 1 level of -5 dBPa (89 dBSPL) at the MRP, sample rate, at some point it will need to
meter long (39 x 39 inches) in an anechoic which corresponds to a normal or nom- be converted to the sample rate of the
chamber or in a simulated free field (using inal level of speech. If a speech signal is DUT output. This is easily accomplished
time-selective measurement techniques). used, the level should be set using the with an audio waveform editing software
For the send direction (the equivalent of “active speech level” – a level metric which package like Audacity [2] (open source)
the smart speaker input path), the device ignores the silent periods between speech or GoldWave [3] (inexpensive).

USING THE WAKE WORD Here’s an example that
When testing the input path, the wake illustrates a test of the
word must be used to activate the smart input path of a smart
speaker, causing it to anticipate a spoken speaker using the Trans-
command and record a few seconds of fer Function measurement
audio. One option is for the test operator with a stimulus waveform
to just say the wake word, as if giving the consisting of speech chat-
device a command, and then immediately ter. The signal, which was
generate the test signal from the mouth recorded at a night club Figure 2: Initial portion of the stimulus waveform (speech
simulator. This works, but the timing with many people talking chatter with pre-pended wake word).
between the wake word and the test sig- at the same time, is essen-
nal may vary from test to test. tially random speech noise.
Another option is to record a person As shown in Figure 2,
saying the wake word and then prepend the smart speaker wake
it to the stimulus signal using an audio word was prepended to
waveform editor (i.e., insert it at the the stimulus waveform.
beginning of an audio file containing For the transfer function
the stimulus). In this case, to conduct a measurement, the system
test, the wake word with stimulus is sim- triggers on the wake word Figure 3: Smart speaker measured frequency response
ply played through the mouth simulator and includes it in the anal- magnitude using the stimulus of Figure 2.
at the required level. With this method, ysis with the rest of the
the time between the wake word and the stimulus signal. input path for sweep lengths of 0.35,
stimulus is constant from test to test. The frequency response magnitude 1.0, and 4.0 seconds. Some interesting
This option also works well when the DUT derived by retrieving the recorded .wav file observations:
is inside a test chamber and the operator from the IVA’s server and analyzing it with 1. The response curves from the chirp
and audio analyzer are located outside respect to the stimulus signal is shown in analysis and the transfer function mea-
the chamber. Figure 3. In this case the mouth simulator surement with a speech signal, above,
The process of activating the smart was driven at a level such that the rms level are remarkably similar in shape.
speaker with the wake word followed by measured at the MRP was 89 dBSPL. 2. The response to the chirp stimulus
the audio stimulus signal will trigger the Next, let’s move on to an example fea- does not vary much with the length
DUT to record several seconds of audio turing a test of the input path of the same of the sweep.
and upload it to the IVA for speech recog- smart speaker using a log-swept sine stim- A second smart speaker we have tested
nition processing. To complete the analy- ulus. Figure 4 shows the stimulus wave- behaves differently; the response mea-
sis requires retrieving this recorded audio form for a 0.35-second
file from the back-end server, converting long sweep from 50 Hz
it to the .wav format, and analyzing it to 8 kHz, with a pilot
with the audio analyzer control software. tone and the wake
Details of this process will vary, depend- word inserted before
ing on which IVA is used. For example, the the chirp signal. The
popular Alexa service has a web portal analyzer triggers on
where users can log into their account to the pilot tone and
manage interactions with connected smart uses the pilot tone fre-
devices. In the Settings menu under His- quency to correct for Figure 4: Stimulus waveform for log-swept sine test of smart
tory, there is a record of each interaction the slight sample clock speaker (wake word, 200 ms pilot tone and 350 ms chirp, 50
with a connected smart device, including difference between the Hz - 8 kHz).
a date/time stamp, a transcription of the DUT and the analyzer.
interpreted command and a tool to play In this case, the wake
the recorded audio on the PC’s speakers. word and pilot tone
Using the web developer mode features are not included in
built into web browsers, it is possible to the analysis of the fre-
retrieve a hyperlink that will enable you to quency response.
download the recorded .wav file directly. Figure 5 depicts the
You can then open it in the audio analyzer acoustic level response Figure 5: Smart speaker input path level response due to
software for analysis. of the smart speaker chirp signals varying in length from 0.35 to 4.0 seconds.

TECH TOPIC
sured with a speech signal is quite differ- (time- selective)

ent than when measured with a chirp, and measurement tech-
the chirp response changes significantly nique is used.
with sweep length. [4] This is most likely Smart speakers
due to the first speaker having a more can typically play
aggressive noise suppression algorithm audio content from
than the one tested in this example. an online music
Another example: The input path of service or internet
the first smart speaker above was again radio station, or
measured with a multitone consisting from a user’s own Figure 6: Smart speaker input path level response measured
of tones logarithmically spaced at stan- music repository with a multitone.
dard 1/6-ocatve frequencies from 100 Hz located either in
to 8 kHz, with the overall signal length “the cloud” or on a user’s device. Usu-
(the period of the lowest frequency ally, it’s not possible to get an exact copy
tone) being 200 ms. The wake word was of the audio file streamed from a third-
again prepended to the stimulus signal party streaming service. Therefore, the
to activate the smart speaker. In the best approach is to prepare an audio file
case of multitone measurements, the containing the stimulus signal and upload
highly selective triggering mechanism it to the music repository.
of the measurement is used to trigger In the case of the popular Alexa service,
on the signal itself, and the wake word Amazon initially allowed users to upload
is excluded from the analysis. their own content for streaming to smart Figure 7: Setup for smart speaker output
Figure 6 shows the response of the devices, but later changed policies to dis- path test.
smart speaker input system to the multi- allow it. An effective workaround is to use
tone signal. Despite the lower resolution, a third-party streaming service for which If the IVA successfully interprets the
the shape of the curve closely matches there is an Alexa “skill” (e.g., a Plex server). command and finds the music track, a
the curves from the transfer function and With this approach, it’s possible to create a few seconds later it will respond with
chirp measurements. Note, however, that media server on your own PC and tell the a “spoken” reply, such as “OK, playing
the absolute level is about 17 dB lower IVA to stream a file from your server to a the song Test Signal by Audio Precision”
than the level of the chirp response. This is connected smart speaker. followed by the test signal. To capture
due to the multitone signal having a much Here again, the analysis requires that the test signal, the measurement in the
lower crest factor than the chirp signal. the sample rate of the signal acquired audio analyzer must be started before
by the audio analyzer match the sam- the test signal is played.
OUTPUT PATH ple rate of the original signal. However, To ensure that the test signal is ana-
The smart speaker primary output path the music service from which the file is lyzed (not the IVA’s spoken reply), the
involves digital audio content being streamed will likely have its own con- audio analyzer must have a means to
transmitted from a web server to the straints that have to be met before the trigger on the desired signal. The trig-
device, where it is converted from digi- file can be streamed. ger mechanism may vary by the type of
tal to analog, then finally to an acoustic For example, some services require measurement/stimulus. For example, in
signal as it is played over the device’s that it be encoded to .mp3 format at a AP audio analyzers the following trigger
loudspeaker system. An audio test of sample rate of 44.1 kHz, and assigned mechanisms are used:
this path requires capturing the acous- multimedia tags such as artist, album • A multitone signal has a unique signature
tic output signal from the device with a and track. Once the audio file containing which enables the measurement to trigger
microphone connected to the input of an the stimulus signal has been prepared, it on the signal itself with a high degree of
audio analyzer and comparing this to the must be uploaded to the server. success.
unaltered original audio file. Once the file containing the stimulus • For open-loop measurement, log-swept
Figure 7 shows the setup for a smart signal has been prepared and uploaded to sine (or chirp) measurements and stepped
speaker output path that is also based on the connected music service, the test can sine measurements use a sinusoidal pilot
using the IEEE 1329 standard for speak- be conducted. To get the smart speaker to tone. The analyzer uses a frequency-selec-
erphones as a guideline. In this case the play the test signal usually requires a spo- tive threshold trigger to locate the pilot
mouth simulator is replaced with a mea- ken command, i.e., for a smart speaker tone and the test signal.
surement microphone. This test should whose wake word is “Smartie” the com- • The transfer function measurement
also be conducted inside an anechoic mand might be “Smartie: Play the song has a “match” feature which enables it
chamber, unless a quasi-anechoic or Test Signal by artist Audio Precision.” to trigger on the test signal itself. For

1.5 kHz are likely due to acoustic Joe Begin, PE (Acoustical Engineering), a
reflections from the table com- graduate of McGill University (B.Sc.) and the
bining destructively with sound University of Canterbury (M.Sc.), has over
waves propagating directly from 35 years of experience in test and measure-
the speaker to the microphone. ment. As director of applications and technical
In Figure 10, we see the first support at Audio Precision, he is involved in
few seconds of a music signal product management, audio and electroacous-
used to test the output path of tic test applications engineering, and more.
the same smart speaker. The brief
0.1-second-long burst at the very REFERENCES
Figure 8: Stimulus waveform (upper) and acoustic beginning of the waveform is a 1. IEEE 1329-2010 - IEEE Standard Method
pressure response waveform (lower) from a smart short MLS signal prepended to for Measuring Transmission Performance of
speaker test. Log-swept sine chirp from 50 Hz to the music signal to improve sig- Speakerphones.
20 kHz in 2.0 seconds with a 200 ms pilot tone. nal matching for triggering. 2. Audacity - Free, open source, cross-platform
The frequency response magni- audio software. https://www.audacityteam.org/
signals like music with repetitive phras- tude calculated from analyzing 20 seconds 3. GoldWave – Digital Audio Editing Software.
ing, the user can prepend a short section of the music signal is shown in Figure 11. https://www.goldwave.com/
of a unique signal, such as a maximum Note that this result is a direct measure 4. Audio Precision Technote 138 – Transfer
length sequence (MLS) to the stimulus, of the smart speaker’s sensitivity versus Function Measurements with APx500 Audio
for improved triggering. frequency, with units of dB (Pa/FS). Analyzers. 2019.
Figure 8 shows the stimulus and Note the similarity between Figure 9 5. Measuring Audio when Clocks Differ. AES
response waveforms from a smart speaker and Figure 11. Slight differences in shape Convention Paper 10055, NY (2018).
test using a log-swept sine measurement between the two curves
from 50 Hz to 20 kHz with a 2.0 second are likely due to the device
sweep length. The 0.2-second-long pilot responding differently to
tone is visible at the beginning of the the music signal than a
waveforms. chirp signal at certain
The pilot tone is used not only for trig- frequencies.
gering, but also to measure the differ-
ence in sample rates between the audio CONCLUSION
analyzer and the DUT. As noted above, This concludes our over- Figure 9: Smart speaker frequency response level mea-
the sample clock of the DUT will never view of smart speaker sured via log-swept sine test using the waveforms shown
exactly match the sample clock of the acoustic measurements. in Figure 3.
audio analyzer. We’ve discussed some of
For example, the original signal may the inherent challenges
have been created at a sample rate of involved in testing smart
48.000 kHz, but the DUT sample rate speakers – both their
is slightly different – say 47.990 kHz. input and output are
The sample rates of the two signals must acoustic, they must be
be identical, otherwise artifacts will be controlled by spoken com-
introduced in the results. [5] When mands, and testing them
chirp measurements are conducted in involves interacting with
Figure 10: Initial portion of a music signal used to stimu-
an open loop configuration in APx500 an IVA service and a back-
late a smart speaker.
audio analyzers, the system measures the end server.
difference in sample rates by analyzing Despite these challenges,
the frequency of the pilot tone. It then armed with a good audio
re-creates the stimulus signal such that analyzer and some acous-
the stimulus and response have identical tic accessories, plus a little
sample clocks. inventiveness to overcome
The acoustic level response derived some of the obstacles, it’s
from the stimulus and response wave- relatively straightforward
forms in Figure 8 is shown in Figure 9. to make meaningful audio Figure 11: Frequency Response Magnitude of the smart
Dips in the curve occurring at regular quality measurements of speaker measured using the Transfer Function measure-
frequency intervals starting at about smart speaker devices. LSI ment with a music signal.

World Stage
GETTING IT DONE
A roundup
PHOTO CREDIT: THOMAS JACKSON/TYNESIGHT PHOTOGRAPHY

of recent
applications.
by Live Sound Staff
SONIC CHANGE OF
DIRECTION ON SHORT
NOTICE
For several years, the British Music

Embassy (BME) has hosted a live show-
case for emerging British musicians at
South by Southwest (SXSW) in Austin, Allen & Heath dLive in action at the closed-door sessions at The Mill in West London.
but with this year’s event cancelled on
short notice, the BME and its partners BME’s SXSW showcase for the past seven Although Elliott has long favored Martin
transitioned to offer an alternative broad- years, notes, “Allen & Heath’s support has Audio loudspeakers, he’s tried an assort-
cast event – a series of closed-door studio been amazing this year. We’ve managed to ment of power amplifiers over the years
sessions staged at Production Park’s The pull this together on a tight budget, tight before settling on Linea Research. “We do
Mill in West London, with Allen & Heath deadline and with A&H’s help, it’s really mostly loud rock shows, and it demands
mix systems at the hub of this effort. eased up the stress of everything else. The a lot of power,” he notes. “The new Linea
The broadcasts were distributed via dLive, as every year, is a hugely welcomed Research amplifiers save us a lot of rack
radio and live streams across social media, addition to our production. The drag-and- space and weight. We used to run 4U ampli-
featuring performers such as Aaron Smith, drop user interface allows me to quickly fiers that weighed 35 kg [77 pounds] each;
Arlo Parks, Bess Atwell, Liz Lawrence, build scenes, get rid of channels and nav- by the time we added crossovers, one amp
Jordan Mackampa, Porridge Radio and igate the console quickly and safely – it’s rack would be 14 rack units and weigh 150
Steam Down. With just a few days to pull a great console to busk a gig on.” kilos [330.7 pounds]. Now we can do that
the event together, the audio system was with one Linea 48M that weighs 12.5 kg [27
kept as close to the original plan as pos- A SUCCESSFUL BLEND OF pounds], and we’ve gone from 14U to 2U. It
sible, with an emphasis on walk-up-and- OLD & NEW shaved a colossal amount off our trucking.”
mix usability for guest engineers working
with tight turnaround times. An Allen & A typical sound system from Pyramid
Heath dLive S5000 surface with a DM32 Audio, a long-time audio production
MixRack was deployed at front of house, company headed by Ian “Fleece” Elliott
with another S5000 paired with a DM64 and based in Bury St. Edmunds, Suffolk,
on monitors, connected via gigaACE. UK, combines classic Martin Audio loud-
In addition, a new Avantis desk was speakers driven by Linea Research power
chosen as the production console, fitted amplifiers.
with gigaACE and Dante cards, allow- “I’ve got Martin Audio products that
ing patching to the dLive systems and go back to the 1980s and 1990s,” reports
providing a multi-track feed for the BBC Elliott, who has also worked as a touring
and MQA livestreams. A trio of Allen & engineer for more than three decades.
Heath’s new PRIME premium eight-chan- “We plug them into new Linea Research
nel preamps, fitted in a DX32 expander 44M or 48M or 88C power amplifiers and
on stage, completed the package. they sound amazing. The clarity is phe- Two of Pyramid Audio’s racks stocked
Steve Davies, engineer at Subfrantic nomenal. Everybody’s blown away by it with Linea Research amplifiers in front of
Productions and monitor engineer for the every single time.” vintage Martin Audio loudspeakers.

Versatile
High-Fidelity Wireless
3000 Series expands the possibilities of performance
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• True Diversity operation reduces dropouts
• Unique multifunction button on the handheld and body-pack transmitters can
Interchangeable be used to switch to a backup frequency should interference be encountered
capsule options • Automatically adjusts squelch setting to maximize range
while minimizing potential interference
• Frequency scan and IR sync for ease of setup
• Handheld transmitter offers industry-standard thread mount for use with six
audio-technica.com interchangeable A-T microphone capsules, as well as other compatible capsules
WORLD STAGE
stage, the L208s structure covering 860 square meters and

were installed along accommodating up to 900 visitors.
with compact Inge- “I was the sound engineer and front
nia IG1T enclosures of house ‘babysitter’ for the festival and
that cover a down- it was brilliant,” says AMBION head of
stairs lounge area. audio Michael Knauf. “We had no trou-
Onstage, a half bles… I can say it was just fantastic. You
dozen DVX DM can be focused on the instruments not
12 TH bi-amped the system and just do your job with
wedges serve as a the sound. N-RAY is a milestone for the
final complement CODA family – unpack it, rig it and have
to the revitalized fun. It’s almost the simplest thing I’ve
audio blueprint. ever seen. It’s so easy to use. I love it.”
Country band Feed the Kitty onstage at the Viper Room, with one “Now we have Specifically, AMBION put together arrays
of the venue’s new dBTechnologies VIO L208s arrays flying at left. the best PA ever in of 10 N-RAY modules joined by dual SCN-F
the club’s history,” bass extensions per side for the main hangs.
UPGRADING THE EXPERIENCE production manager Tyler Kunze states. In addition, three hangs of three CODA
AT A CLASSIC VENUE “The coverage is wider, there are no dead N-APS were used for center and side hangs,
spots anywhere. The vocals are upfront, with eight SCV-F sensor-controlled sub-
It’s been more than 25 years since Johnny the intelligibility and clarity have never woofers bolstering the low end. In addition,
Depp launched the Viper Room at 8852 been better. When I’m mixing, everything eight CODA CUE Four wedges handled for
Sunset Boulevard in West Hollywood, and comes out of the master bus clean, warm, stage monitoring, and all loudspeakers were
helping to mark the occasion is a revital- and clear – I don’t have to EQ anything.” driven by six CODA LINUS 14D and six
ized sound system employing dBTechnol- LINUS10C amplifiers.
ogies VIO L208 active line arrays as well COVERING AN UNUSUAL
as other components from the company. SPACE PUTTING THINGS TOGETHER
First opened in 1993 in one of the oldest FOR A TRIBUTE BAND
commercial buildings still in use on the Germany-based production company
Sunset Strip, the Viper Room has played AMBION deployed a CODA Audio N-RAY Front of house engineer Howard Heckers
host to headliners like System of a Down, compact line array to deliver sound rein- utilizes a DiGiGrid IOS audio interface as
Tom Petty, Johnny Cash, and countless forcement at the most recent edition of the central hub of his work with Kings of
other local and national acts. The Kulturzelt annual music festival in Floyd, a popular Pink Floyd tribute band
Faced with the prospect of reaching Kassel, Germany that has run since 1987. based in Germany that regularly under-
the end of its previous PA’s useful life, the The festival began in a former circus tent takes national tours of theatre venues.
venue opted recently to add six VIO L208 before progressing to its current location “I’ve been a DiGiGrid user for a while
loudspeakers to its main room. Flown in in a temporary, self-supporting concert hall now, having started touring with the Waves
arrays of three each left-and-right of the constructed in 2010 – a circular plexiglass LV1 around three years ago,” explains Heck-
One of the CODA N-RAY arrays flown by AMBION at the most Howard Heckers with his front of house kit, which includes a
recent edition of The Kulturzelt festival. DiGiGrid IOS interface, for Kings of Floyd.

ers, noted for his work with Supertramp “When Nashville
co-founder Roger Hodgson. “In 200-plus Underground oper-
shows during that time, DiGiGrid products ating partner Joshua
have never let me down. I use the DiGiGrid Pemberton called me,
IOS for front of house – it’s the best optionhe was looking to
PHOTO CREDIT: PAUL KOLNIK

available with eight inputs, eight outputs, bring more high-cal-
two headphone outputs and AES. It’s ideal iber artists into the
for PA feeds and some local inputs like talk-venue. He needed
back and playback from a video stream for a powerful, high-fi-
the show. I love the preamps – very trans- delity sound system,
parent and clear.” but also needed it
Heckers, whose career credits also to be easy to set up,
include Liza Minnelli, Melanie and Randy since i t wo uld b e
Newman, adds that he owns several DiGi- constantly moved
A scene from “Marie, Dancing Still” at the 5th Avenue Theatre
Grid units: “I actually have three Waves between their mul- in Seattle, which utilized mics from DPA in a range of applica-
LV1 setups for different tours. The Kings tiple performance tions. A look at some of the venue’s inventory of DPA mics is
of Floyd gear stays in the truck but I use a r e a s ,” s a y s R a t inset.
a similar setup for other tours. I’ll be Sound’s Dave R at.
upgrading my IOS’s to IOS-XL as soon “The new L-Acoustics A Series had just A HANDY MIC STOCK AT THE
as I have a break in the current Kings of been introduced and we knew it would READY
Floyd tour. I also use a DiGiGrid MGB give the venue extremely high-quality
(coaxial MADI interface) on another tour sound and a brand name that is very The 5th Avenue Theatre in Seattle has a
– this is my newest setup that deploys a attractive to top DJ and artist riders, large stock of DPA Microphones in its
DiGiCo rack on MADI to MGB on FOH but also be ultra-portable and quick to inventory for deployment on a range of
and has an IOC at FOH.” deploy to wherever they needed it.” live productions, including the recent
Rat Sound provided the venue with presentation of Marie, Dancing Still.
UP ON THE ROOF IN MUSIC pairs of medium-throw A15 Wide enclo- Specifically, the theatre’s DPA selections
CITY sures, KS21 subwoofers and LA4X ampli- includes 4061 omnidirectional minia-
fication from its own rental inventory, tures, 4011 cardioids, 4099 instrument
Nashville Underground recently added a which Pemberton demoed onsite and mics, and the newest addition, the 6061
new sound reinforcement system headed by then ordered a set. This established omnidirectional subminiatures.
L-Acoustics A Series components supplied Nashville Underground as the first “ We’re happy to add DPA mics to
by Rat Sound Systems (Camarillo, CA) to venue on the Broadway strip to own an our inventory whenever we can,” says
deliver sound reinforcement to its rooftop L-Acoustics rig, with the system deliv- Karen Katz, head sound engineer for The
deck – the largest in the city – presenting ered in time to reinforce a DJ event on 5th Avenue Theatre. “Among high-end
live music every night of the week. the rooftop deck. microphones, DPA is not only reasonably
priced, but also provides the most clear
and natural tone every time – they are
beautiful sounding mics.”
Marie, Dancing Still sound designer Kai
Harada adds, “The theatre was already
carrying a large complement of DPA 4061
lavalier microphones as part of its house
inventory, but we needed to purchase addi-
tional microphones for the production of
Marie. We chose the DPA 6061s knowing
they would have a similar sonic signature
to the existing 4061 stock, with the added
advantage of being smaller in size. The sonic
consistency between these mics is great;
I might even say that I like the quality of
the 6061s even better than the 4061s. We
SNBRN performing a DJ set on Nashville Underground’s rooftop deck with the venue’s can use them all simultaneously and have
new L-Acoustics A Series loudspeaker system. a seamless, even sound throughout.” LSI

Real World Gear
ADVANTAGES OF SCALE
Compact line array
one subwoofer, some of them designed to fit seamlessly within
a flown array structure.
designs and a collection

While larger rigs certainly deliver the horsepower for bigger
shows, they don’t scale down as well. Many manufacturers offer
of recent models.
line array modules of various sizes that work together seamlessly.
In addition, some sound companies use smaller systems as front
fills, down fills, and delays in conjunction with larger main arrays.
by Live Sound Staff Flexibility with rigging continues to evolve, providing added
array structure options. Compact systems also present a popular
P
opular convention says that bigger is better, but for approach of ground-stacking as mains capable of satisfying
many gigs, compact line arrays are actually a more the requirements of certain applications without the need for
suitable fit. A smaller system offers many advantages, rigging infrastructure. Some of the models in our roundup are
including reduced effect on sightlines, reduced weight on rigging also designed so that cabinets can be stand- and pole-mounted,
points, and a reduced impact on budgets, all while still delivering joined by ground-based subwoofers.
quality sound reinforcement. In addition, lesser-scaled systems Many compact arrays are available with dedicated amplifica-
take up less room in the shop and less room on the truck. tion and sophisticated DSP packages, either onboard or sepa-
Further, smaller array modules can accommodate larger splay rately rack-mounted. Others are designed to work with a range
angles between modules while maintaining minimal displace- of amplification and processing devices, and some companies
ment between speaker drivers. This can be handy when dealing offer a choice of either approach. A number of models are now
with smaller rooms where array placement options are limited. equipped with proprietary and/or Dante networking capability.
We’ve defined compact line arrays as those having low-fre- With advances in technology and components, many recent
quency drivers measuring 8 inches or smaller. They present a compact line arrays can offer the same – or almost the same –
scalable solution – a single array will provide main coverage to acoustical output as their bigger brothers. A smaller footprint,
a relatively large space, and the addition of more loudspeakers less weight, added flexibility, quality sound and lots of volume
easily expands coverage capabilities. For dynamic full-range at an attractive price point and return on investment. What’s
music presentation, arrays are usually accompanied by at least not to like? Enjoy this look at the latest compact line arrays. LSI
RCF HDL 28-A d&b audiotechnik Y8 Electro-Voice XLD281

rcf.it dbaudio.com electrovoice.com
Configuration: 2-way Configuration: 2-way Configuration: 3-way

LF: 2 x 8-inch neodymium cone drivers LF: 2 x 8-inch cones neodymium cone LF: 1 x 8-inch neodymium cone (EV
drivers in dipole arrangment DVN2080)
HF: 1 x 3-inch voice coil titanium com-
MF: 1 x 8-inch neodymium cone (EV
pression driver on custom time-coherent HF: 1 x 1.4-inch-exit compression driver
DVN2080)
waveguide on proprietary wave transformer
HF: 2 x 2-inch voice coil neodymium
Frequency Response: 50 Hz – 20 kHz Frequency Response: 54 Hz – 19 kHz
drivers (EV ND2S-8)
Dispersion: 100 (h) x 15 (v) degrees Dispersion: 80 degrees (h), vertical is
Frequency Response: 60 Hz – 20 kHz
Rigging: Adjustable in numerous incre- array dependant
Dispersion: 120 x 10 degrees (90 degrees
ments Rigging: 0 to 14 degrees in 1-degree horizontal available – XLD291)
Power: Self-powered (bi-amp, class D), increments Rigging: 1-degree increments
rated at 2,200 watts peak, proprietary Power: d&b amplification (D6, D12, D20, Power: Biamp and triamp modes
FiRPHASE DSP D80, 10D, 30D) (200/200/80 watts)
Weight: 45.4 pounds Weight: 44 pounds Weight: 48 pounds
Size: 14.8 (h) x 25.6 (w) x 19.7 (d) inches Size: 10 (h) x 24.8 (w) x 14.8 (d) inches Size: 9.9 (h) x 28.6 (w) x 14.5 (d) inches

Firenze-KH7 state-of-the-art touring system | k-array.com
Perfect for live sound and touring, the Firenze-KH7 is an electronic beam steerable,
self-powered straight hang line array with 4 x 12” coaxial drivers with rotatable horns
that can be flown vertically or horizontally. A system of 8 KH7 per side was recently used
for Rome’s Primo Maggio festival which had over 50,000 people in attendance.
REAL WORLD GEAR
VUE Audiotechnik al-4 CODA Audio N-RAY dBTechnologies VIO L208

vueaudio.com codaaudio.com dbtechnologies.com
Configuration: 2-way Configuration: 2-way

Configuration: 2-way
LF/MF: 2 x 6.5-inch neodymium cone LF: 2 x 8-inch cones neodymium cone
LF: 2 x 4-inch Kevlar neodymium cone drivers drivers
drivers
HF: 6-inch DDP proprietary driver (Mid: HF: 1 x 1.4-inch-exit compression driver
HF: 1 x 1-inch beryllium diaphragm com- 3.5-inch voice coil, High: 1.75-inch voice on rotatable waveguide
pression driver coil)
Frequency Response: 85 Hz – 18.1 kHz
(+/- 3 dB)
Dispersion: Variable horizontal coverage
Dispersion: 90 (h) x 10 (v) degrees Dispersion: 105 (h); vertical is array de-
of 90, 120 or asymmetric 105 degrees,
pendant (v) degrees
Rigging Angles: 0, 2.5, 5 and 7.5 degrees variable vertical curving
between array elements Rigging: Integrated 3-point captive Rigging: 0 to 15 degrees in 1-degree
system increments
Power: V4 Systems Engine (power, DSP,
Power: Driven with companion LINUS Power: Self-powered (Digipro G3 class D)
networking)
amplifier/controllers rated at 1,800 watts peak, and DSP
Weight: 19 pounds Weight: 33 pounds Weight: 39.9 pounds
Size: 10.3 (h) x 19.9 (w) x 5.5 (d) inches Size: 7.6 (h) x 20.4 (w) x 15.3 (d) inches Size: 10.2 (h) x 26 (w) x 15.3 (d) inches
Alcons Audio LR14 QSC WideLine-8 WL3082 Clair Brothers C8-M

alconsaudio.com qsc.com clairbrothers.com
Configuration: 2-way Configuration: 3-way Configuration: 3-way
LF/MF: 2 X 8-inch neodymium cone LF: 2 x 8-inch cone drivers

LF: 2 x 6.5-inch neodymium cone drivers
drivers MF/HF: 1 x 3.5-inch (voice coil), 1 x 1.75-
HF: 1 x RBN401 4-inch pro-ribbon driver inch (voice coil) concentric compression
on a proprietary “Morpher” lens HF: 1.4-inch-exit neodymium compres-
sion driver driver
Frequency Response: 74 Hz – 20 kHz Frequency response: 60 Hz – 20 kHz
Dispersion: 120 or 90 (h), vertical is array Dispersion (h x v): 120 x 10 degrees, addi-
Dispersion: 140 x 10 degrees
dependant tional horizontal options
Rigging: Adjustable in 1-degree incre- Power: Bi-amplified with passive mid/
Rigging: 0 to 15 degrees in 1-degree steps ments from 0 – 10 degrees high
Power: Alcons ALC amplifier/controller Power: Tri-amped; LF –250 watts, MF – Rigging: Integral rigging hardware with
recommended 250 watts, HF – 85 watts adjustable splay angles
Weight: 33.1 pounds Weight: 38 pounds Size: 9.2 (h) x 28.9 (w) x 23.9 (d) inches
Size: 6.7 (h) x 22.6 (w) x 12.6 (d) inches Size: 9 (h) x 20 (w) x 15 (d) inches Weight: 62 pounds

RWG Spotlight Listing
L-Acoustics Kara II | l-acoustics.com
Assembled as a variable curvature line source with high SPL per line length, Kara II is a modular ele-
ment designed for applications that require precise pattern control and long-throw capabilities such
as performing arts, congregations, large corporates, and special events.
The addition of Panflex gives Kara II accurate four-in-one directivity, allowing one box to cover
any audience geometry. It can morph to fit any design while offering consistent coverage and SPL
distribution with a precise focus in four different directivity patterns: 70- or 110-degree symmetrical
and 90-degree asymmetrical, steering to either the left or
right. In its 70-degree configuration, Kara II delivers a full
KEY SPECIFICATIONS:
2 dB more than in 110 degrees.
The rugged Kara II is made for touring and incorpo- Configuration: 2-way
rates ergonomic side and rear handles as well as enclo- LF: 2 x 8-inch neodym-
sure protection elements. The captive rigging system is ium weather-resistant
fitted with a visual safety indication making for secured cone drivers
and effortless deployment. A comprehensive set of rig-
HF: 1 x 3-inch neodymi-
ging accessories enable flown and stacked deployment in um diaphragm compres-
various configurations. sion driver
Usable bandwidth: 55 Hz – 20 kHz
TECHNOLOGY FOCUS: Panflex is a unique horizontal steering technology that Maximum SPL: 142 dB (Kara II 70)
combines mechanically adjustable fins with DSP algorithms effective from
800 Hz. Four different settings are possible and narrowing or widening the Nominal directivity: 70/110-degree
horizontal directivity can serve many purposes: adapt to the width of the symmetric or 90 degrees (horizontal);
listening area, fit long and short distance coverage/SPL requirements, reduce vertical dependent upon number of
or extend overlapping areas, and avoid reflective surfaces. elements and curvature
Rigging: Angle increments 0, 1, 2, 3, 5,
OF NOTE: The LA-RAK touring rack and LA amplified controller preset library 7.5, and 10 degrees
deliver an advanced and precise drive system. A wide range of available sys- Power: L-Acoustics LA4/LA8/LA12X
tem configurations provides a very high level of creative freedom. Kara also amplified controllers
includes an intelligent 2-way transducer protection L-DRIVE circuit (PEAK and
RMS limiting) and a unique Array Morphing EQ interface for quickly adjusting Weight: 57 pounds
the tonal balance of the system. Size: 9.9 (h) x 28.9 (w) x 19 (d) inches
DAS Audio EVENT-26A NEXO GEO M6 Series Martin Audio

dasaudio.com usa.yamaha.com Wavefront Precision WPM
martin-audio.com
LF/MF: 1 x 6.5-inch cone driver Configuration: 2-way
LF: 2 x DAS 6.5-inch neodymium cone
drivers LF: 2 x 6.5-inch neodymium cone drivers
HF: 1 x 1-inch-throat driver on optimized
HR Wavesource HF: 3 x 1.4-inch neodymium compression
HF: 1 x DAS 1.75-inch neodymium driver
drivers on constant-directivity waveguide
Dispersion: 100 degrees nominal, vertical Dispersion: 80 or 120 (h) x 20 (v) degrees (+/- 3 dB)
is array dependant (0- to 20-degree splay when arrayed)
Dispersion: 100/125 (h at - 6/-10 dB) x 10
Rigging Angles: Proprietary FSS (Fast Set Rigging: Proprietary NEXOSkeleton rig- (v) degrees
Splay) rigging system adjustable in 1-de- ging system; can also be ground-stacked Rigging: Integral 3-point rigging system
gree steps from 0 to 10 degrees as well as pole- and wall-mounted
Power: iKON multichannel class D ampli-
Power: Self-powered, 2-channel class D Power: NEXO NXAMP amplifier/controller fiers w/DSP, can be driven in blocks of 1,
amplifier; DSP recommended 2, 3 or 4 resolution configuration
Weight: 36.4 pounds Weight: 21.4 pounds Weight: 30.9 pounds
Size: 8.9 (h) x 18.9 (w) x 19.1 (d) inches Size: 7.4 (h) x 14.6 (w) x 10.2 (d) inches Size: 7.3 (h) x 19.7 (w) x 14.8 (d) inches

REAL WORLD GEAR
Renkus-Heinz IC² (IC Squared) K-array Mugello-KH2 FBT Mitus 206LA

renkus-heinz.com k-array.com fbt.it
Configuration: 2-way Type: 2-way Configuration: 2-way

LF: 4 x 8-inch neodymium cone drivers LF: 2 x 8-inch (2.5-inch voice coil) LF: 2 x 6.5-inch neodymium cone drivers
neodymium cone drivers
HF: 4 x 1-inch compression drivers HF: 1 x 1.4-inch neodymium compression
HF: 2 x 1.4-inch (2.5-inch voice coil) driver on a waveguide
compression drivers
Dispersion: 120 or 90 (h) degrees; Frequency Response: 68 Hz – 20 kHz
adjustable vertical from 10 to 80 degrees
Dispersion: 100 (h) x 10 (v) degrees
per beam Dispersion: 110 (h) x 20 (v) degrees
(preset dependent) Rigging: Adjustable in 2-degree
Rigging Angles: Digitally steerable;
adjustable from -30 to +30 degrees Rigging: Adjustable increments from 0 to 10 degrees
Power: Self-powered (class D, 8 chan- Power: Self-powered (class D, 750 + 250 Power: Self-powered (class D), LF - 600
nels), multi-channel DSP watts); DSP onboard watts, HF - 300 watts; DSP
Weight: 75 pounds Weight: 63.9 pounds Weight: 30.8 pounds
Size: 18.5 (h) x 28.5 (w) x 11.5 (d) inches Size: 11.2 (h) x 33 (w) x 8.3 (d) inches Size: 7.5 (h) x 22.6 (w) x 15 (d) inches
TW AUDiO VERA10 Void Acoustics Arcline 6 Verity Audio IWAC208

twaudio.de voidacoustics.com verityaudio.fr

LF/MF: 1 x 10-inch cone driver (compres-
LF: 2 x 8-inch cone drivers
sion chamber phase plug is positioned in LF: 4 x 6.5-inch neodymium cones
front of the driver chassis) HF: 2 x 1.7-inch compression drivers on
HF: 3 x 1-inch neodymium proprietary waveguide/expanded horn
HF: 2 x 1-inch compression drivers on an compression drivers
optimized waveguide Frequency Response: 95 Hz – 19.5 kHz
Dispersion (h x v): 90 degrees x 8 degrees
Dispersion: 80 or 120 (h) x 10 (v) degrees Dispersion: 120 (h) x 12 (v) degrees
Rigging: Adjustable 0 to 6 degrees in
Rigging: Integral captive rigging system 1-degree increments
Rigging Angles: 2-degree adjustments
Power: Active and biamp/passive ver- from 0- to 10 degrees Power: Verity V4.25 amplification/DSP
sions available; high-shelf attenuation
package provided in rack that can be
vertical selector onboard; operates with Power: 800 watts (RMS)
ground-based or flown with arrays
DSP controller
Weight: 62 pounds Weight: 52.9 pounds
Weight: 39.7 pounds (VERA10P version)
Size: 10.8 (h) x 19.7 (w) x 14 (d) inches Size: 15.6 (h) x 21.2 (w) x 14 (d) inches Size: 10.6 (h) x 26.9 (w) x 14.4 (d) inches

Meyer Sound LINA Ramsdell Pro Audio LA-10-2 Fulcrum Acoustic FL283T
meyersound.com ramsdellproaudio.com fulcrum-acoustic.com
Congifuration: 2-way Configuration: 2-way Configuration: 2-way

LF/MF: 1 x 10-inch cone driver in vented LF: 2 x 8-inch ceramic horn-loaded cone
LF/MF: 2 x 6.5-inch cone drivers
chamber drivers
HF: 1 x 3-inch compression driver HF: 3 x 1.4-inch neodymium drivers
HF: 1 x 1-inch (1.75-inch voice coil) neo-
coupled to a constant-directivity horn
dymium compression driver Frequency Response: 54 Hz – 18.6 kHz
through a patented REM manifold
Frequency Response: 65 Hz – 18 kHz Dispersion: 90 (h), vertical is array de-
Frequency Response: 65 Hz – 18 kHz pendant
Dispersion: 60, 90 or 120 (h) x 10 (v)
Dispersion: 100 (h) x 11 (v) degrees degrees Rigging: 4 to 20 degrees in 2-degree
Rigging: End frames with four captive Rigging: Integral captive rigging system increments; 0- and 2-degree splays with
GuideALinks, secured with quick-release adjustable in 2-degree increments from optional rear link bar
pins 0 to 10 degrees Power: Each module is configured for
Power: Active and passive versions avail- full-range passive operation at 16 ohms,
Power: Self-powered 3-channel class D
able; optional biamp; rated at 500 watts allowing up to eight units to be driven
amplifier; DSP
(program) from a single amp channel.
Weight: 43 pounds Weight: 29 pounds Weight: 57 pounds
Size: 8.4 (h) x 20.3 (w) x 15.3 (d) inches Size: 12 (h) x 21.7 (w) x 15.9 (d) inches Size: 14.3 (h) x 24.6 (w) x 19.3 (d) inches
JBL Professional VTX A8 Bose ShowMatch DeltaQ Turbosound Flashline TFS-550H

jblpro.com pro.bose.com turbosound.com
LF: 2 x 8-inch Differential Drive neodymi-
um cone drivers Dispersion (h x v): 100 or 70 degrees LF: 2 x 6.5-inch neodymium cone drivers
MF: 4 x 3.5-inch neodymium midrange (changeable) x choice of 5, 10, or 20 degrees
MF: 1 x 4-inch neodymium cone driver
drivers LF: 2 x 8-inch cone drivers
HF: 2 x 2-inch neodymium compression HF: 1 x 1-inch compression driver
HF: 4 x EMB2S compression drivers
drivers Frequency Response: 80 Hz – 20 kHz
Dispersion: 110 (h) x 8 (v) degrees
Dispersion: 110 degrees (h), vertical is Power: HF: 100 watts continuous, 400
array dependant watts peak; LF: 450 watts continuous, Rigging: 0 to 12 degrees in 1-degree
Rigging: Selectable splay increments 1,800 watts peak increments
between 0.25, 0.5, 1, 1.5, 2, 2.5, 3, 4, 6, 8, Power: 10000DP amplification
Rigging: 3-point “quick pin” system,
and 10 degrees recommended (DSP, networking); LF: 400
support for up to 24 modules
Power: Crown Audio I-Tech HD (all mod- watts peak, MF/HF: 240 watts peak
els) & I-Tech 4x3500HD Weight: N/A
Weight: 29.5 pounds
Weight: 65 pounds Size (h x w x d): 11.1 (h) x 31.2 (w) x 18.3 (d)
Size: 11 (h) x 31 (w) x 22.1 (d) inches inches Size: 7.6 (h) x 21.7 (w) x 15.6 (d) inches

Loading Dock PRODUCTS FRESH OFF THE TRUCK
Lectrosonics IFBR1B QSC AD-P.HALO

A miniature IFB (Interruptible Foldback) receiver An integrated SUB/SAT pendant loudspeaker
pack nearly half the size and weight of the IFBR1A system joining the AcousticDesign Series that’s
unit that it’s equipped with an integrated 6.5-inch subwoofer
replacing and and four 2.75-inch transducers in a single enclo-
using a slim sure. It is intended to supply high-performance
3.7-volt LB-50 output and enhanced musicality for background music applications such as
rechargeable high-end retail and hospitality, and is designed to be ready to install right out
lithium ion bat- the box to eliminate the need for assembly of multiple hardware compo-
tery instead of a 9-volt type. It’s accompanied by nents. By utilizing Q-SYS network amplifiers or QSC DSP-enabled amplifiers,
the companion CHSIFBR1B dock charging system integrators can employ QSC’s Intrinsic Correction proprietary voicing algo-
capable of charging up to four receivers or four rithm for QSC loudspeakers to help reduce set up time and tuning. qsc.com
batteries in any combination. The IFBR1B is com-
patible with the existing line of IFBT4 transmitters punQtum Q110
and is outfitted with a backlit LCD and membrane The first product following the launch of the
buttons for set up and use. Ten presets are pro- company late last year is a beltpack, the initial
grammable from the front panel. Five tuning rang- element of a larger networked intercom system
es are available: the VHF version (red knob) covers designed to offer to 32 partylines via standard IP
174-216 MHz; the A1 (470-537 MHz), B1 (537-614 networks and infrastructures. All Q110 function-
MHz) and C1 (614-692 MHz) versions (blue knob) ality is designed to be easily accessible due to ergonomically designed but-
cover the UHF TV frequencies for most countries; tons and a color display. In a stand-alone capacity, the Q110 offers access to
and the 941 Band version (black knob) covers the two channels of partyline intercom, and besides being powered via standard
North American license-only 941-960 MHz range. PoE switches, it also offers the option to daisy-chain up to eight units on a
Future firmware updates can be installed in the single wire. The feature set also allows for any missed comms to be replayed
IFBR1B in the field via the USB jack on the bottom in a “voice-mail” style setup.
of the unit. It comes standard with a wire belt clip The punQtum intercom system is designed to integrate with AES67-compliant
for light weight and easy placement. An optional networks such as Audinate Dante and RAVENNA. In addition, the company
“clamp” style belt clip is also available and can be will shortly release a multi-platform editing software for configuration and
installed with two small screws. lectrosonics.com management of systems. punqtum.direct
Io Audio Technologies Powerlatch

Two new standard sizes of AC power cables join the company’s Powerlatch Series, adding 6- and 25-foot options that will join the
current sizes of 3 and 10 feet for Powerlatch-to-Powerlatch cables. In addition, Powerlatch-to-Edison cables will have a 3-foot
option joining the standard 10- and 25-foot sizes. Designed for use in both indoor and outdoor environments, Powerlatch AC power
cables utilize a weatherproof jacket intended to help ensure proper performance and safety in most
applications. They are fitted with rugged locking connectors for high-current applications that are
designed to eliminate the possibility of accidental unplugging. The connectors are also specifically
keyed and color coded for input (blue) and output (grey) to help prevent intermating. The Series is
designed for single-phase AC applications, rated for 20 amps at 250 volts AC, making them suitable for
stage productions, lighting systems, and other high-current applications. ioaudiotechnologies.com
Martin Audio SXCF118 & SXC115

Two compact cardioid subwoofers suitable for both live sound reinforcement and fixed installa-
tions. The SXCF118 is a flyable version of the SXC118 released last year and has been purpose de-
signed to accompany WPS optimized line array systems. It incorporates an 18-inch forward-fac-
ing driver and a 14-inch (356-mm) rear-facing driver, each powered independently by separate
amplifier channels and DSP. In addition, each driver has its own chamber with bass reflex
porting, an arrangement designed to produce a cardioid dispersion pattern that maximizes front
radiation while reducing unwanted radiation behind the sub. The ground stack SXC115, a partner with WPM systems, follows similar
principles and contains a 15-inch front-facing driver and 12-inch rear-facing driver, each in its own bass reflex chamber and inde-
pendently powered.The recommended iK42 amplifier optimizes the DSP parameters for front and rear drivers to maximize the rear
rejection. Enclosures are constructed from tour-grade plywood and finished with a hard-wearing textured polyurea coating. They’re
equipped with four grab handles, while foam-backed perforated steel grilles protect the front and rear drivers. martin-audio.com

RCF M20 Series
Four mixers joining the M Series – M 20X, M
20R, M 20XD, M 20 RD – all offer DSP and full
recallability and are equipped with 11 motorized
faders and 16 remote controlled preamps con-
tained in a compact chassis. Also included are
20 input channels with 16 mic preamps, eight
Radial Engineering PZ-Pro XLR and eight combo inputs, two TRS inputs, a
A 2-channel instrument preamp, DI and switcher, stereo input on mini jack. There are 10 output
with each channel outfitted with a separate equal- channels, with eight XLR and two TRS as well
izer strip with a filter section intended to help as two main output XLR’s. All outputs are routable. The rear panel contains
reduce feedback on stage. The second channel of AES-EBU stereo output, USB audio 24 × 24 multi-channel interface, and LAN
the PZ-Pro also includes a microphone input to port to connect external access point for wireless remote control. A 5-inch
allow any dynamic or condenser microphone to capacitive high-contrast touch screen with five encoders provides control of
be used, including clip-on instrument mics. Three all capabilities. Also onboard are four function buttons that recall the main
footswitches provide the ability to toggle between pages on the screen and eight programmable user keys. The motorized faders
each input channel, activate a built-in booster include 10 for inputs/outputs, and one for the main master mix. There are
and an effects loop, or mute the signal for silent four fader layers (input 1-10, input 11-20, four FX return and six custom faders,
tuning on stage. radialeng.com while the fourth is dedicated to the 10 MIX outputs). All channels contain
high-pass, gate, 4-band parametric EQ, compressor (channels 1-16) and gate.
LEA Professional Cloud Three options for are offered for various multi-track real-time recording and
A platform designed to provide systems integra- playback, with 20 tracks on SD card, in addition to a 24 x 24 channel USB 2.0
tors with reliable and secure remote monitoring interface and stereo recording and playback on a USB key. FX includes two
and control capabilities across the lineup of reverb, delay and modulation (which can be swapped for a further delay).
IoT-enabled LEA Connect Series power amplifiers. There’s also a phones output and RTA (Real Time Analyzer) function to check
The company’s amplifiers are equipped with a the audio spectrum of any channel. rcf.it
built-in Amazon
Web Services NEXT-proaudio N-RAK 12 & N-RAK 6
(AWS) IoT Core Two signal and power distribution racks for
that facilitates the company’s entire product range, both
monitoring loaded with Powersoft T604 amplification
operational data with Audinate Dante networking capability.
points that are integral to maintaining system The new N-RAKs were created as a universal
health remotely. The capability is intended to platform developed to facilitate cross-rental
deliver greater visibility to provide preventative between NEXT-proaudio users and to ensure
maintenance, easier troubleshooting and fewer compatibility with the cabling standard of
on-site maintenance requirements, providing a the systems. The N-RAK series also includes N-RAK 20, N-RAK 40, and N-RAK
recurring revenue stream for integrators to add 80. In addition to Dante, both new models also have AES3 and analog inputs
to their service contracts. With the new platform, for multiple connection options. A compact 4U customized rack comes with
integrators are not required to VPN into a Local either two amplifiers (N-RAK12) or one amplifier (N-RAK6). In addition, there’s
Area Network and can access system status from a 2U audio distribution panel on the front and a 2U power distribution panel
any device. With the ability to communicate with on the back. The Powersoft Armonia software platform provides monitoring
an installed system anywhere, preventive main- and control. The digital audio signal management system based on ARM
tenance and other system data is gathered from Cortex A-8 processor and TI C6000 DSP platform is designed to provide
multiple sensors and circuitry within the amplifier. non-boolean routing and mixing, multi-stage EQ with raised-cosine, IIR and
leaprofessional.com FIR filters, and more. next-proaudio.com
Audinate Dante AV Product Design Suite

It’s designed to offer a turnkey approach to allow OEMs to build an AV over IP endpoint for visu-
ally lossless results with low latency over a 1 Gbps network. It provides interoperability for audio
distribution and control with the more than 2,500 existing Dante products from more than 450
different manufacturers, delivering independent, fully synchronized audio and video streams.
Based around the Dante AV module, it can be modified, branded and differentiated by OEMs via
software, control, and integration with other members of their product lines. audinate.com

Back Page
TRIMMING THE FAT

Applying a subtractive approach
to system optimization.
by Michael Lawrence
Figure 1
M
y mixing technique is largely subtractive in nature (remove things
from the mix that don’t need to be there). If I’m getting a lot of hi-hat
bleed through the other drum mics, I’ll pull the hat fader back. I
also high pass, low pass, and mid-scoop mix elements that aren’t contributing
necessary energy (or contributing too much energy) in those frequency ranges.
Basically, trimming the fat.
Lately I’ve been interested in applying the same concepts to my system
optimization work. This school of thought is inspired largely by the 360-degree
system tuning concept introduced to me by my friend Jim Yakabuski. Here’s my
shot at applying that concept to a set of infills located at the corners of a stage.
Three traces were taken over the coverage of the right side of the PA (near,
mid, far) and their average is shown in Figure 1. (The sub bump is a little high Figure 2
and was reduced by about 6 dB later in the optimization process.)
Down in the first few rows, we’re underneath the main hangs and so out of the HF coverage. Figure 2 provides the response of the
mains in the area that’s intended to be covered by the infill (purple) compared to the previous average trace as a reference (gold). It’s
obvious that the LF coverage is totally sufficient down here, and we really just need the infill to contribute the missing HF information.
Now, let’s go to Figure 3, which depicts the raw response of the infill from the center of its coverage area, again compared
against gold. HF response is exactly where we need it. Let’s roll off the LF so that the fill will combine with the OFFAX LF from
the mains and bring the entire response back closer to the target. In Figure 4, we can see how the purple (mains LF) dovetails
nicely with the yellow (fill HF).
Figure 3 Figure 4
What I didn’t have time to grab is a combined trace to compare to target after time was set. This show was an hour behind due
to rain, and so in those cases I will only stop to measure things that I need to measure in order to adjust a parameter, and the
verification traces get skipped in lieu of a final by-ear check at the end. LSI
Michael Lawrence is an independent front of house engineer and system tech, and he’s also the technical editor of various pro audio
publications. Read more from Michael and reach him at precisionaudioservices.com.

ots 12x N
K n L8 B
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Pile ls
BUILT.
Come see for yourself. The S-Series.

Adamson’s commitment to technology and
design means you can deliver unparalleled
sonic performance and power to your audience.

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

MANAGING THE THE PROS & CONS OF MIXING FRONT OF

RIGHT FOR THE JOB: KEY FACTORS OF

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24 MANAGING THE SPRAWL A variety of approaches in

44 GETTING IT DONE A roundup of recent reinforce-

12 GIG SCHOOL The pros and cons of mixing front of

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30 BUSINESS MATTERS Key steps in building an AV

32 SPOTLIGHT The nuts and bolts of getting it done

40 TECH TOPIC Part 2 on smart loudspeaker acoustic

48 REAL WORLD GEAR Compact line array designs and

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