2012 Livesoundintl October
2012 Livesoundintl October
2012 Livesoundintl October
|
www.prosoundweb.com
|
$10
THE JOURNAL FOR LI VE EVENT TECHNOLOGY PROFESSI ONALS
I N T E R N A T I O N A L
October 2012
|
www.prosoundweb.com
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$10
I NSTALLATI ON | CONCERT | THEATER | CORPORATE AV | WORSHI P | CLUB | RECORDI NG
Tech evolution
for Rod Stewart
Getting
It Right
PLUS:
THE VIEW FROM THE STAGE SIDE
NEODYMIUM, AUDIO & GEO-POLITICS
LARGE VERSUS SMALL CONDENSERS
L1210 Cover.indd 1 9/26/12 10:38 AM
LS1210 ppxx Allen&Heath.indd 1 9/26/12 9:43 AM
LS1210 ppxx Allen&Heath.indd 2 9/26/12 9:43 AM
Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 21 No. 10, is published monthly by EH Publishing, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico subscriptions are $60 per year. For all other
countries subscriptions are $140 per year, airmail. All subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham, MA
01701 USA. Canada Subscriptions: Canada Post Agreement Number 40612608. Send changes of address information and blocks of undeliverable copies to Pitney Bowes International, PO Box 25542, London, ON N6C 6B2. POSTMASTER: send
address changes to Live Sound International, PO Box 989, Framingham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing ofces. Reproduction of this magazine in whole or part without written permission of the publisher
is prohibited. Live Sound International is a registered trademark of EH Publishing Inc. All rights reserved. 2012 EH Publishing. Check us out on the web at http://www.prosoundweb.com.
IN THIS ISSUE
FEATURES
14
|
Magnetic Attraction
Neodymium, audio products, and geo-politics.
by Ken DeLoria
24
|
Getting It Right
New technology for classic Rod Stewart in
concert. by Kevin Young
34
|
Outside The Cable
Creative thinking results in a wireless solution.
by Gregory A. DeTogne
52
|
Complete Coverage
Implementing a new system at 80,000-seat
Spartan Stadium. by Live Sound Staff
24
OCTOBER 2012
6
|
Loading Dock
EQUIPMENT New wireless systems,
software, loudspeakers and more.
10
|
In Prole
The pro audio life and times of Mike Scarfe
of MHA Audio. by Kevin Young
18
|
Perspective
A seasoned veteran presents the view from
the stage side. by Gary Gand
22
|
Tech Talk
The point of diminishing returns when
a little more isnt enough. by Pat Brown
30
|
In Focus
Design principles and applications of large
and small conderser mics. by Bruce Bartlett
38
|
Real World Gear
EQUIPMENT A look at recent develop-
ments and the latest models of power
ampliers. by Live Sound Staff
44
|
Show Report
The scene at the second annual LSI Compact
System Demo in Atlanta. by Live Sound Staff
50
|
First Look
An introduction to Mackies new DLM
compact loudspeaker series. by Keith Clark
58
|
Gig School
Properly maintaining dynamic and
condenser microphones. by Tim Vear
60
|
Road Test
An evaluation of the Lectrosonics Venue
wireless microphone system. by Tim Weaver
64
|
Snapshot
Developing sound for the new eTown Hall
in Colorado. by Live Sound Staff
4
|
From the Editors Desk
68
|
NewsBytes
71
|
Advertiser Index
72
|
Back Page
DEPARTMENTS
18
44
14
L1210 pp02 TOC.indd 2 9/26/12 2:11 PM
Employee of the Year
qsc.com
* K and KW Series 6-year extended warranty with product registration. 2012 QSC Audio Products, LLC.
All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S.
Patent and Trademark Ofce and other countries.
Every time you put a K Family
loudspeaker to work it comes
home with cash. It doesnt
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LS1207 ppxx QSC.indd 1 6/25/12 5:19 PM
I N T E R N A T I O N A L
VOLUME 21 | NUMBER 10
.
c
o
m
From the Editors Desk
Publisher | Kevin McPherson | kmcpherson@ehpub.com
Editor-In-Chief | Keith Clark | kclark@livesoundint.com
Senior Contributing Editor | Craig Leerman | cleerman@livesoundint.com
Senior Technical Editor | Ken DeLoria | kdeloria@livesoundint.com
Church Sound Editor | Mike Sessler | msessler@livesoundint.com
Europe Editor | Paul Watson | pwatson@livesoundint.com
Technical Consultant | Pat Brown | pbrown@synaudcon.com
Art Director | Katie Stockham | kstockham@ehpub.com
Associate Art Director | Dorian Gittlitz | dgittlitz@ehpub.com
ProSoundWeb.com
Editor-In-Chief | Keith Clark | kclark@prosoundweb.com
Product Specialist | Craig Leerman | cleerman@prosoundweb.com
Webmaster | Guy Caiola | gcaiola@ehpub.com
Kevin Young | Gary Gand | Greg DeTogne | Bruce Bartlett
Tim Vear | Tim Weaver | Greg Stone
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One of the things that never fails to impress me about professional audio
is the constant innovation thats ongoing at all levels, all of the time.
System techs regularly formulate clever tech-
niques that improve their craft. Engineers focus
tirelessly on new mix approaches that make a
positive difference. System designers re-evaluate
their practices to upgrade the listening experi-
ence. Sound company owners seek ways of
providing better systems and services, all while
keeping an eye on the increasingly constricted
bottom line. And, manufacturers well, dont
get me started. The cycle of improvement gives a
whole new meaning to the word constant.
Another aspect of this is that some innovation grants an immediate
result, while much of it only becomes fruitful over the longer term. In
between theres the incremental improvements that are only steps to an
eventual end game. Except when that end is reached, its usually only
the beginning of another process Rinse and repeat.
This issue of Live Sound focuses on this facet of the business, and
is exemplied by our cover story. Its really interesting to nd out what
Lars Brogaard and the sound team for Rod Stewart have up their sleeves
next. Despite the fact that Stewart is a long-established top act, and that
Brogaard has been working with him for almost three decades, there is
no complacency. Rather, the drive to be better is the steady metronome
backbeat of their efforts.
Also, enjoy Greg DeTognes report regarding a wireless signal dis-
tribution approach developed over several years by Paul Beach to meet
the unique needs of a challenging application. Ken DeLorias focus on
the state of neodymium and its impact on pro audio also portends some
interesting possibilities for innovation.
While the old saying necessity is the mother of invention encapsulates
some of the motivation for innovation, it leaves out the aspect that quite
often in pro audio, invention is based upon the deep desire to improve the
art, science, and yes, business, of this industry. Enjoy the issue.
Keith Clark
Editor In Chief, Live Sound International/ProSoundWeb
kclark@livesoundint.com
ON THE COVER: Rod Stewart
performing on a recent concert tour.
(Photo by Steve Jennings)
L1210 pp04 Edit-MH.indd 4 9/26/12 10:42 AM
Exceptional
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LOADINGDOCK
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6 Live Sound International October 2012 www.ProSoundWeb.com
Sennheiser Digital 9000 d
A digital wireless system cover-
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EM 9046 receiver, SKM 9000
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ries. The receiver is a mainframe that accommodates up to eight receivers
internally. The High Denition (HD) mode transmits uncompressed, artifact-
free audio, while the Long Range (LR) mode is for difcult transmission
environments. The system offers IR synchronization between receivers and
transmitters, as well as an antenna loop-through for creating larger receiv-
ing systems. The receiver automatically measures the RF cable loss between
the receiver and the booster, adjusting the gain accordingly. The user can
choose between transformer-balanced analog or AES3 output modules, or a
mix of both. System setup is facilitated by a built-in graphical spectrum ana-
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tion and optimizing antenna positions. Digital 9000 also offers encrypted data
transmission. www.sennheiserusa.com
Klark Teknik DN9610
XD12 (1-inch-exit compression driver, 12-inch cone) and XD15 (1.4-inch-exit com-
pression driver, 15-inch cone) loudspeakers provide a full sound and accurate 80- x
50-degree dispersion pattern. All transducers utilize neodymium magnets. Cones are
made of a new pulp formulation plus an epoxy treatment to ensure smooth mechani-
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operation via an external switch. The compact,
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Roland Systems Group R-88
A software upgrade that provides VistaMix automatic microphone mixing for the Vista
line of digital mixing consoles. It removes the need for an operator to manually adjust all
of the faders all of the time, leaving the mics of talking participants open while closing
the mics of silent participants
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background noise. The pro-
prietary design also increases
gain for talking mics and
reduces gain for all others
very quickly, while keeping
the amount of total gain con-
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live mix. No additional hard-
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surface, and the new controls
are fully implemented within
the standard Vistonics screens and controls. VistaMix is available to all existing Vista
systems with SCore Live DSP engines, or by upgrading to software version 4.8 and
adding the VistaMix channels to the DSP conguration. www.studer.ch
Riedel RN.344.SI d
An interface card that provides
Riedel RockNet integration for any
Soundcraft Si Compact console via the
consoles expansion slot. In its rst rm-
ware release, the card supports 32 inputs and 32
outputs to the RockNet system. A word clock output is
available at the front panel. A rotary switch is provided
for device identication and selection of up to 16 programmable routing tables. The
RN.344.SI enables the respective console to become a part of the RockNet digital
audio network and enables remote control of any RockNet microphone pre-amplier.
The RN.344.SI also supports RockNets Independent Gain Feature. www.riedel.net
L1210 pp06-09 Loading Dock.indd 8 9/25/12 2:33 PM
www.ProSoundWeb.com October 2012 Live Sound International 9
Countryman H6 d
A headset microphone
available in both
omni and direc-
tional versions,
outtted with
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E6 omni earset mic. The
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The capsule is offered in three sensitivities (7 mV/Pa, 2 mV/Pa,
and 0.7 mV/Pa), all with high dynamic range and at 20 Hz to 20
kHz frequency response. The light weight, adjustable headframe
is designed to stay rmly in place. The entire headset can be
placed underwater without damage, and is available in light
beige, tan, cocoa, and black. The mic cable detaches at the
headset and employs a double-sealed watertight connector. The
cable offers a break strength exceeding 44 pounds, and is inter-
changeable, able to interface to a variety of wireless mic systems
as well as digital recorders and XLR mic inputs with phantom
power. www.countryman.com
CAD Audio StagePass WX1200
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CONSTANT
CURVATURE
LINE ARRAYS
LS1201 ppxx JBL.indd 1 12/12/11 4:00 PM
16 Live Sound International October 2012 www.ProSoundWeb.com
:: Spotlight ::
with fewer chain motors and smaller sup-
port structures. Aging/outdated infra-
structure in sports arenas and theatres is
routinely being down-rated in load capac-
ity, so the lighter the rig, the better.
The problem is that a whole lot of
concerns want neo for their products
and theres currently not enough to go
around, forcing a dramatic price increase
over the past few years. Prices have been
decreasing somewhat this year, but its
difficult to predict if the downward
trend will continue, stabilize, or reverse.
In addition to the many applications
noted earlier in this article, neo is also
used in wind generators because the low
weight permits larger units to be placed
on smaller support structures. This appli-
cation, perhaps more than any other, has
the neo industry in a jam because China,
which produces about 97 percent of
the worlds supply, stated it would stop
exporting neo in order to use the entire
supply domestically, mainly for wind
generator farms.
This plan will require about 59,000
tons of material in the coming year to
make high-strength magnets more than
the nations annual output. Fortunately,
the government later softened its position,
but the price has nonetheless skyrocketed.
While researching this article, I dis-
covered that neo isnt particularly rare
at all; its only geo-politically limited.
Theres plenty of it in the earth. In
terms of overall quantity, the amount is
approximately equal to cobalt.
But like cobalt, neo is not found
everywhere, only in certain locations
though it is more widely distributed
in the earth, geographically speaking.
Relatively few mining companies want
to engage in neo extraction and rene-
ment because the process is difcult and
expensive, as well as causing byproducts
of toxic pollutants that must be managed.
Molycorp owns a mine in the U.S.
that is the only rare earth oxide producer
in the western hemisphere, and the larg-
est outside of China. The company has
been seeking to ramp up neo production.
In September 2011, Molycorp CEO
Mark A. Smith testied before a U.S.
House Foreign Affairs Subcommittee,
stating, China is clearly warning that
they will consume more of their own
rare earths and export less, and that they
see tight supplies of rare earths as repre-
senting an irreversible trend. The U.S.
must roll up its sleeves and get to build-
ing its own domestic rare earth manu-
facturing supply chain. We must move
as rapidly as possible to a position where
our economy and our national security
interests are no longer tied to declining
Chinese rare earth exports.
ALTERNATIVE APPROACHES
As a frame of reference, Mark Gander,
vice president of JBL Professional, notes
that that a typical 12-inch cone driver
and a 1.4-inch compression driver each
require about one-half pound of neo-
dymium. While that might seem only
a small amount (to produce big results),
still, the consumption of neo, when
spread over the many different sizes and
types of drivers used in todays profes-
sional sound systems, adds up quickly. A
single, large-scale tour could account for
as much as half-ton of neo usage.
In the meantime, some in pro audio
are hedging their bets by re-visiting other
magnetic materials. Like all loudspeaker
manufacturers worldwide, weve been
wrestling with the tremendous price rise
of neodymium magnets over the past
year and a half, Gander says. Weve
seen our magnet prices go up an average
of ve to six times [from] a year or so ago.
The new paradigm forced a re-evaluation
of the neodymium value proposition
and inspired a deep dive into a holistic
approach to the creation of new products.
Necessity is the mother of invention,
and weve been asking new questions
about real world applications, he con-
tinues. The answers have taken us down
some new paths and weve been pleasantly
surprised with the fruits of our labor.
Earlier this year, Italy-based driver
designer and manufacturer FaitalPRO
introduced several new families of loud-
$29
2007 2008 2010
4th Quarter
2011
4th Quarter
$27
$80
$244.20
Neo Prices
Per Kilogram
in U.S. Dollars.
The basic parts and construction of a cone driver, including the magnetic components.
L1210 pp14-17 Spotlight.indd 16 9/25/12 2:41 PM
www.ProSoundWeb.com October 2012 Live Sound International 17
speaker drivers with ferrite magnet struc-
tures. This effort includes more than 30
new products in every category from low-
to mid- to high-frequency units.
FaitalPRO indicates that the deci-
sion to create the new product lines is
tied both to market demands, which
sometimes specically require products
with ferrite magnets, as well as expand-
ing the product catalog with units offer-
ing a new tonality. Further, the company
stresses that it is not replacing any of its
current neodymium models.
Its not a secret that the cost of neo-
dymium is currently at a record high, and
therefore the market will certainly wel-
come our new ferrite loudspeakers. But
it surely will not do so just for a matter
of cost, states FaitalPRO overseas sales
manager Flavio Naggi. Were offering an
alternative based on new, soft and rened
acoustic tonalities; the current product
range will remain, and the new families
with a ferrite heart will join them.
Another leading driver company,
Acoustica Beyma, headquartered in
Spain, has also been at work devising
alternatives. Pedro Enguidanos of Beyma
notes that one area of focus has been
developing enhanced coil cooling, which
has allowed the use of smaller coils, while
also fostering ferrite-based designs.
CRYSTAL BALL
Will neo continue to reign supreme as the
magnetic material of choice for premium-
grade pro audio loudspeakers? Or will the
high present day cost force its usage into
a rarefied product strata where price is
no issue? Only time will tell, particularly
if alternative production sources for neo
begin to provide signicant yields, which
would likely bring prices down.
As weve discovered, driver manufac-
turers are working diligently to develop
alternate ways and means of providing
their customers with high-performance
products at a more reasonable price.
And perhaps a new magnetic alloy will
be discovered, just as neodymium was
discovered in 1885 by Austrian chem-
ist Carl Auer von Welsbach. As Gander
noted earlier, Necessity is the mother
of invention.
So the next time you rig that large
line array system in an arena or when
youre placing that small, lightweight
loudspeaker on a stand at a club keep
in mind the complex supply chain and
multifaceted international political issues
that actually dictate vital factors such as
price and performance in our own little
corner of the global economy.
KEN DELORIA is senior technical
editor for Live Sound International
and has had a diverse career in pro audio
over more than 30 years, including being
the founder and owner of Apogee Sound.
L1210 pp14-17 Spotlight.indd 17 9/25/12 2:41 PM
18 Live Sound International October 2012 www.ProSoundWeb.com
>>>>
PERSPECTIVE
Hunting
Gremlins
The view from the stage side.
by Gary Gand
MUCH PRO AUDIO INDUSTRY
humor revolves around techs versus
musicians. By their very nature, techs
are knowledgeable problem solvers. The
ip side of this nature are musicians who
dont let knowledge get in the way of
their artistic pursuit. Hence the endless
putdowns:
Can you read music? Not enough to
hurt my playing.
What do you throw a drowning gui-
tarist? His amp.
Why did the drummer leave his
sticks on the dashboard? So he can park
in the handicap zone.
And on and on.
Musicians arent clever enough to
think up tech jokes, so it remains a
one-sided affair. But to be fair, without
musicians, techs would have nobody to
work for (or pick on). Therefore one
needs the other (and vice versa).
Where I come in is Im that rare
breed of musician and mix engineer.
I decided early on in my music career
(age 10) that Id better pay attention
and gure out what all those knobs do
or I would be forever at the mercy of
stage hands, janitors, and AV geeks to
make sure the mic was on, didnt feed
back, shock me to death, or sound like
a bullhorn. This would most certainly
obliterate my unusual amount of tal-
ent and artistic creativity some music
critics quote, not mine.
I became so adept at the tech side
that when I decided to retire from my
night gig as guitar gunslinger in my mid
20s, it wasnt long before former band
mates started calling me up to run sound
for them. This quickly led to building
my own loudspeakers in the garage and
then going on the road with some popu-
lar bands of the day, such as rockabilly
rebel Commander Cody (Hot Rod
Lincoln), new country star Emmy Lou
Harris, and Nashville singer songwriter
Larry Gatlin, to name a few favorites.
After 30 years or so, instead of tak-
ing up golf, I decided to get back to
playing in a rock band. (Your ngers
never forget.) With the equipment
revolution in full rage, I could get all
of the sounds and portability that we
lacked in the early 1970s. No more
lugging around a Marshall stack, a
pair of Altec A7s, a 200-pound rack
of power amps and effects, and a piano
(or Hammond B3). Weve now been
playing for several years, covering all
of the old terrain from clubs to concert
halls, outdoor fests to opening slots
with national headliners.
OLD IS NEW
And in this process, Ive become the
musician we all dread: the guy in the
band who thinks he knows about
sound. Im the grouchy old dude who
has seen it all and tells the local sound
company what I want, the way I want
it, and Ive got the road bacon to prove
that Im right.
The reason Im laying this out is
that Im going to tread ever so heav-
ily on a scared stretch of ground that
has been detoured around for the past
few decades. Ill probably make some of
you mad, but for the greater good. The
primary focus is being in the band and
dealing with newer (less experienced)
and/or attitudinal sound people.
When I started mixing in the early
1970s, there were already plenty of
seasoned pros in this industry. These
were cats that had been doing it for
as long as ve years and thought they
The author slingin his axe prior to getting behind the console for a gig at the Super-
dome in New Orleans.
If a player in the band
makes a reasonable
request for a specic
mic, try going with it.
L1210 pp18-21 Perspective.indd 18 9/25/12 2:46 PM
midasconsoles.com
2012 MUSIC Group IP Ltd. Technical specifcations and appearances are subject to change without notice and accuracy is not guaranteed.
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Up to 12 multi-channel FX units
Up to 28 KLARK TEKNIK DN370 31-band EQs
6 POPulation groups
8 VCA groups
Daylight-viewable full colour TFT display screen
MIDAS Latency compensation system
iPad remote control
Light weight, compact aluminium frame
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20 Live Sound International October 2012 www.ProSoundWeb.com
:: Perspective::
knew a lot. My neck hairs used to stand
up when these folks would come at me
with their crazy ideas.
I was the new kind of tech who
knew about bi-amping, hypercardioid
mics, graphic equalizers and a whole
slew of (then) new technology very
much like the young people of today,
who have digital everything, are ISP
and MIDI savvy, and can text with
one hand while drinking coffee (or Red
Bull) with the other.
So with all of this technology,
knowledge, and super-duper
gear, why do I run into the
same old basic issues that
have been around since the
rst sound tech unrolled the
rst snake? Because just like
the common cold, the same
gremlins haunt our industry
to this day.
HERE WE GO
Recently I walked onstage
at a Chicago summer out-
door fest. You know the
setup: five stages, lots of
food vendors, drink tickets,
wrist bands, too many bands
with too little changeover
time, and multiple sound
companies all subbing gear
from each other to cover the event. All
varieties of loudspeaker boxes, amps
and consoles, all of the name brands
you read about in this magazine. (As I
always say, There is no bad gear any
more. Even the worst stuff today was
somebodys A-plus rig 10 years ago.)
Suddenly comes the dreaded POP-
BOOM-THUD. The iPod stops and
a hush falls over the PA. We all know
that feeling of time standing still when
the PA goes completely dark. Now, I
dont panic because its not my prob-
lem, Im just in the band. I go about
getting my band mates onstage and
set up (in other words, herding cats),
then hand off our stage plot to the
monitor engineer, asking him to take
a look after they get the rig running
again. No pressure. A few minutes
later THUD-BOOM-POP as the PA
springs back to life.
Its easy to say those guys are idi-
ots. But thats neither the real issue
nor the solution. Turns out the digital
console was sitting on some road cases,
and when the house tech returned
from a BBQ break, he tripped over
the power supplys AC cable. Console
off. Any of you who work with digi-
tal consoles know they take a while to
boot up again.
But as a mere guitar player in the
band, let me tell you that it doesnt
matter if its a guitar amp or a house
console: get a UPS, run the power
cable where it cant get stepped on,
and tie it to an immovable object so
it cant get unplugged. You can have
the highest tech gear in the world, but
if it gets unplugged, it doesnt work.
Thats why the troubleshooting por-
tion of every product manual from a
washing machine to a hairdryer says
is it plugged in?
LISTENING IS A SKILL
Long ago, a famous acoustic guitar
picker I was so looking forward to
working with told me to give him an
SM57 for his guitar. But Id already
made a special trip to borrow a really
nice studio condenser mic to use on his
legendary pre-war Martin D28 dread-
nought guitar. Im really going to take
care of this guy and show him how its
done right.
He took one look at that high-
end mic and said, Nope. I want an
SM57. After I gave him
all the reasons why the mic
I brought would be better,
he replied, I like an SM57.
I know what it does. I know
where to stand. I know what
it sounds like in my moni-
tor. Just put a 57 out there
for me and I ll take care of
the rest.
By giving him a mic he
knew, he was able to perform
at his best without having to
worry about an unfamiliar
pickup pattern and strange
overtones from his monitor.
He could just play and forget
about the tech side of things.
Lesson learned.
So a few weeks ago, Im
setting up my guitar amp, which Ive
spent years tweeking to get all of the
sounds needed for this band. My volume
level is sound tech friendly, and all of
my pedals are tuned to stay within a few
dB of each other for subtle dynamic and
tonal changes. The mix engineer gets an
optimal signal and thus can spend his
afternoon ignoring me and running the
faders for the other musicians.
The sound companys mi c of
choice was a popular contemporary
dynamic model thats simply too full
and warm for the sound Im going
for within the context of a seven-
piece blues rock band that includes
Can I just get a 57? Bueller? Anyone?
L1210 pp18-21 Perspective.indd 20 9/25/12 2:46 PM
www.ProSoundWeb.com October 2012 Live Sound International 21
sax, harmonica, a fat B3 organ sound,
as well as two folks playing percus-
sion at times along with a drummer.
This mic was fine for the multiple
80s tribute quartets that had been
on before us. You know these bands:
guitars, bass, oversize drums, and an
androgynous lead singer. Everyone in
black T-shirts in the brutal Midwest
sun, Ready to party!
I asked the young stage tech to give
me an SM57 instead. Incredulous, he
responded, This is for the house engi-
neer. This is what he wants. I replied,
Im the guitar player; this is for me. My
amp sounds best with an SM57.
We dont have another one, came
his caustic response. Me: OK, do you
have an SM58 (same mic with a wind-
screen)? He gave me the evil eye as he
left to scrounge up an SM57, which
he basically threw in front of my amp.
(At least he put it on a stand, instead of
hanging it off the amp handle.)
Moments later I sound checked my
amp through the PA, running through
my ve most used tones in about two
minutes. The house engineer reports
back through the wedges, Perfect. Next
lets hear some keys. A recording of the
show conrmed my guitar sounded like
it should. I rest my case.
If a player in the band makes a rea-
sonable request for a specic mic, try
going with it. Maybe that musician
has done the research and knows from
years of experience just how it works
or maybe its superstition or wanting to
feel secure. Whatever the reason, try
listening and then collaborating, and
you just might get a better show and an
easier day. n
GARY GAND is president of Gand
Concert Sound (www.gandconcertsound.
com) in Glenview, IL. GCS has been on
the forefront of large-scale audio since the
1970s and are known in some circles as
the NEXO guys.
Better Than You Imagine...
Youve probably known for years that Lectrosonics makes
some of the best-sounding, most reliable, and user-friendly
wireless microphones in the world. What might surprise you
is that systems from Lectrosonics often dont cost any more
than what youre using now. In fact, they might even cost less.
Scan here and nd out for yourself.
lectrosonics.com or 1-800-821-1121
In Canada, call 877-753-2876
...for Less Than You Think.
L1210 pp18-21 Perspective.indd 21 9/25/12 2:46 PM
22 Live Sound International October 2012 www.ProSoundWeb.com
TECH
TALK
>>>>
INTUITION IS ONE OF THE MOST VALUABLE tools
of the sound system designer. But sometimes intuition can lead
us astray. Humans tend to think in terms of linear relation-
ships rather than proportional relationships. But most signi-
cant changes in an audio system are related to the proportional
change rather than linear change.
For example, a 2-to-l power ratio produces a 3 dB
increase in level, regardless of the initial power. A 1 watt
to 2 watt increase produces the same proportional change
as a 500 watt to 1000 watt increase not exactly intuitive.
This is why audio relationships are normally plotted on
logarithmic scales.
Also interesting is the fact that it usually requires a 2-to-l
change to make a signicant difference when human percep-
tion is considered. Most have heard the riddle of the doubling
penny. A ruler offered a man the choice between a $1 million
lump sum payment or a single penny that would be doubled
each day for one month. The wise man took the penny real-
izing that the 2-to-1 growth rate would make him far wealthier
than a mere one million dollars. In fact, there would quickly
come a time where it would be no longer possible to double the
sum with each successive day, because the man would already
possess all of the wealth of the kingdom!
Audio system designers must understand when they have
reached the point of diminishing returns the point when it is
no longer practical (or possible) to double the parameter being
considered. Lets look at a few examples.
AMPLIFIER POWER
One electrical watt makes a handy reference quantity when
considering what size amplier to buy. This relatively small
amount of power can only be practically doubled about 10
times before one reaches the point of diminishing returns.
In other words, the rst few 3 dB level increases are quite
economical. Then it becomes increasingly more difcult and
expensive to get the next 3 dB. This makes amplier peak-
room pretty expensive, since it must be added after the power
required to produce the perceived loudness is determined. Each
3 dB reduction in available peakroom reduces the amplier
size by one-half. Peak limiters are an important part of the
signal chain!
System designers must have other ways of achieving the
desired level. And these other methods will also reach a point
of diminishing return. One of these ways is increased loud-
speaker directivity.
DIRECTIVITY FACTOR
An omnidirectional loudspeaker radiates sound in all direc-
tions. It is said to have a directivity factor (or Q) of one. If
the sound radiation is limited to one-half of a sphere, then
the directivity factor becomes 2 and the broadband sound
level increases by 3 dB. The next 3 dB requires that the
directivity factor be increased to 4, and so on. After about
ve doublings, the system designer reaches the point of
diminishing returns.
Once the Q is 32, it must be increased to 64 to get another
3 dB of gain. And once at 64 it must increased to 128. This is
one reason why medium-Q (Q <= 20) loudspeakers dominate
the marketplace. They mark the point of diminishing returns
for achieving gain through directivity at midrange frequencies.
Also consider that since directivity is related to wavelength,
a horn diameter must double in size to extend its low frequency
control by one octave. This makes horns that extend below 250
When a little more isnt enough.
by Pat Brown
Diminishing Returns
L1210 pp22-23 Tech Talk.indd 22 9/25/12 3:29 PM
www.ProSoundWeb.com October 2012 Live Sound International 23
Hz impractical for some applications. Weve reached the point
of diminishing returns.
DIRECT & REVERBERANT
Another way to increase the direct eld level is through the
use of multiple loudspeakers. Adding a second loudspeaker
provides a 3 dB broadband level increase. But the next 3 dB
increase requires four loudspeakers, and the next, eight. Soon
we have more loudspeakers than can be practically transported.
The point of diminishing returns principal can also work
for the system designer. In reverberant spaces, adding a sec-
ond identical (and identically powered)
loudspeaker to cover some remote listen-
ers increases the reverberant eld level by
3 dB, often hindering communication in
the space. It takes two more to drive the
reverberant level up another 3 dB, and
four more for the next 3 dB.
Eventually, it simply doesnt make
much difference to the reverberant eld level when more loud-
speakers are added. Once you have 100, you can add 100 more
with only a small reverberant level increase.
LEVEL, DISTANCE
The inverse square law states that the sound level will drop by
6 dB when the distance from a point source is doubled in a free
eld. This means that sound level will fall much more quickly
near the source than it will at remote distances. This makes
it difcult to contain the sound produced at outdoor venues,
which is often a source of aggravation to neighbors.
It also makes it difcult to achieve even sound coverage
of large audiences from ear level loudspeaker placements of
point-source like devices. Overhead placements equalize the
distance differentials to various seating positions. The desire of
many designers to produce an acoustic image near the talker
has resulted in many poorly performing systems.
DAMPING FACTOR
Loudspeaker damping can be improved by reducing the resis-
tance of the speaker wire, but only to a limited extent. There
quickly comes a point when it is no longer practical to halve
the resistance by increasing wire diameter or by shortening
its length.
When a user realizes that a proportional change is
required to improve performance, they will quit wasting time
and money trying to take their speaker wires past the point
of diminishing returns.
OTHER AREAS
Of course proportional relationships are not limited to sound
radiation. Light behaves in similar fashion. Keep that in mind
the next time you shop for video projectors.
A doubling of lumens is required for a signicant change,
so upgrading from 800 to 1000 lumens is likely to be a disap-
pointment. In the computer world, processor speed and system
RAM are also perceived proportionally. Changes in either that
are less than double the initial amount are probably not good
investments. (Other than psychologically!)
Our current technology will reach a
point of diminishing returns within a few
years, limited by the speed of electricity
across circuit boards. The same would
be true when comparing the horsepower
ratings when you shop for your next
automobile, or the BTU ratings of space
heaters. Proportional changes are what makes our invest-
ments grow with time, and why the time in the stock mar-
ket is what provides the return on investment. (Or at least it
used to.) Those who start investing at a young age with little
money can end up with much more than those who invest
heavily at a later time.
The principle of proportional change is the very heart of the
decibel system. System designers that are not using the deci-
bel are often responsible for large expenditures that produce
little benet, not realizing that they have reached the point
of diminishing return with some aspect of their design. The
prudent designer will realize when a different path will produce
a more signicant result. n
PAT & BRENDA BROWN lead SynAudCon, conducting
audio seminars and workshops around the world. For more
information go to www.synaudcon.com.
Designers not using
the decibel are often
responsible for large
expenditures that pro-
duce little benet.
L1210 pp22-23 Tech Talk.indd 23 9/25/12 3:29 PM
24 Live Sound International October 2012 www.ProSoundWeb.com
New technology
for classic
Rod Stewart in
concert.
by Kevin Young
Lars Brogaard has been working
with Rod Stewart for 27 years, and over the
course of that time, the sound reinforce-
ment rig used for what he has occasion-
ally described as a never-ending tour has
evolved substantially to incorporate new tech-
nology, meet changing performance demands,
and exceeding the expectations of the audience.
Stewarts recent concert tour of North American
arenas proved no exception, with the system, supplied by
touring company Major Tom of the U.K., headed by the new
Meyer Sound LEO self-powered linear system (see sidebar
on page 28). Brogaards use of Meyer components began
in 2004 when he specied MILO line arrays for a Stewart
tour. The new LEO-M line arrays were joined this time
out by Meyer 1100-LFC low-frequency elements, Galileo
Callisto loudspeaker management, as well as MICA, MILO
and UPA-1P boxes to handle various ll needs.
The manner in which Brogaard deployed the loudspeak-
ers evolved over the course of the tour, and this approach will
continue going forward, he notes. At the outset of the tour,
the main left-right arrays were comprised of 12 LEO-M
cabinets own above four MICA down lls. These were
anked by side coverage arrays, each com-
prised of 14 MILO elements. Meanwhile,
ve 1100-LFC subs were own directly
behind the main arrays, with three more
on the group.
Now, however, were ying three 1100-
LFCs with two spacer bars that are the same
size as an 1100-LFC, Brogaard notes. So we
have six 1100-LFCs per side in the whole system, for
up to 18,000 people, which is rather impressive, I think.
He also prefers to y main and side arrays as far apart as
possible. Many people place them about 60 feet apart, but I
try go out farther when possible on an outdoor show, up to
120 feet apart, he explains. This results in an improvement
in overall sound imaging throughout the venue and less spill
back onto the stage.
And while hes pleased with the additional horsepower
offered by the new loudspeakers, it wasnt about pinning the
audience to the back wall with massive amounts of SPL.
Rather, his decision was made primarily due to a desire for
additional dynamic range.
We used to be very loud in our youth, but weve gotten
away from that, he says. Currently Im running about 103 dB,
RIGHT
GETTING IT
>>>>>>>>>>>>
>>>>>>>>>>>>
L1210 pp24-28 Rod Stewart.indd 24 9/25/12 2:50 PM
www.ProSoundWeb.com October 2012 Live Sound International 25
C-weighted. Its the right level, particu-
larly for an audience thats getting older
and isnt interested in getting thumped
anymore. Also, the rejection off the back
end of the cabinets is fantastic.
Its a strategy particularly important
for this gig, he notes, referencing Stew-
arts open mic technique and the fact
that the entire band is on in-ear moni-
toring (IEM). With LEO, I can get
close to 5 dB more level without inter-
fering with whats happening on stage.
(Side note: Stewart and his band were
among the rst to use IEM exclusively
on stage, starting with Garwood systems
in the early 1990s. Currently theyre on
Sennheiser 2000 Series systems.)
The switch to the Galileo Callisto
loudspeaker management platform is
also recent. Developed for LEO, its
based on what Brogaard describes as
a more sophisticated interface and a
greater degree of control for each ele-
ment in the LEO system.
Brogaards choices are also motivated
by a preoccupation for streamlining the
live rig as much as possible. With the
1100-LFCs flown behind the main
arrays, it looks like we have hardly any
speakers there, so the audience has
a better view of the shows video and
lighting elements, rather than looking at
a big stack of PA, he notes. In addition,
powered loudspeakers make for easier
setup and tear down and less signal
loss. Its also more efcient travel-wise,
because youre not dealing with a lot of
amp racks, he adds.
Early Adopter
The desire to travel lighter also informs,
at least in part, his preference in con-
soles. I used to have racks and racks
of outboard gear, but I have close to
Lars Brogaard mixing
at his SD7 console.
In the foreground is a new LEO-M linear
array, backed by ve own 1100-LFCs.
A MILO array for side coverage is in the
background.
L1210 pp24-28 Rod Stewart.indd 25 9/25/12 2:50 PM
26 Live Sound International October 2012 www.ProSoundWeb.com
:: Rod Stewart ::
nothing now because its all onboard,
he notes. A long-time DiGiCo user,
Brogaard rst took a D5 Live console
on tour in 2001 while beta testing the
prototype for DiGiCo and, then, in
2007, was the rst to use an SD7 on a
tour. The move to the SD7 was predi-
cated by the consoles overall layout and
higher sampling rate. I think the SD7
provides improved low and high end in
comparison with the D5.
When it comes to monitors, more is
not less, more is just right. On stage, two
identical monitor rigs each consisting
of a pair of D5 Live 112EX consoles,
two Lexicon PCM 91 effects units and
four Yamaha 990 or 900 reverbs are
deployed. One is devoted to Stewart
and background vocals, mixed by Sven
Jrgensen, while the other, manned by
engineer Mark Willett, is used for the
nine instrumentalists in the band. Put
simply, its the best way to ensure every-
one on stage has eyes and ears on their
mix as often as possible.
Like his choice of stacks and con-
soles, Brogaards familiarity with prod-
ucts by AKG, Shure and Neumann
inuenced the tours microphone pack-
age. Drums were almost exclusively an
AKG matter, outtted with a D 112 for
kick, two D 5s for snare top and bottom,
a C 451 on hi-hat, and C 419s on toms.
Three Neumann KM 184s handled
overhead.
We ddle around with placement
most days, Brogaard says. The kick
is pretty consistent, but the snare mics
never seem to end up in the same spot.
We try to place them so they point
across rather than straight down, so we
get the rim shots and as much rattle
as possible out of the bottom mic. A
similar mic set was applied for percus-
sion, with AKG C 414s as overheads.
With the exception of the Leslie
cabinet for keyboardist Charles Kentis
Hammond B3, which were miced with
an a C 451 on the upper speaker and
D 112 on the lower, all keyboards were
mixed down to two channels and run
direct into Radial direct boxes.
Working Well
Shure SM57s, as usual, were the exclu-
sive choice on electric guitar cabinets.
Both guitarists also have dedicated
acoustic channels (one 6-string each
and one 12-string), as does Stewart
and string player Janna Jacoby, who
played acoustic in one song. Radial DIs
were also the choice for bass, acoustic
guitars, Jacobys violin and mando-
lin, and the bands 3-piece horn sec-
tion. Horns were captured with AKG
C 418 clip-ons, all running through AKG
PT 4000 wireless.
All vocalists sang through AKG
C 5900s, Stewarts working with a
PT 4000 wireless system. I did a lot of
work with AKG in the early days when
they rst started coming out with wire-
less systems, and they just work really
well for Rod, Brogaard explains. The
Members of the sound and production team for the recent Stewart tour, left to right,
Mark Willett, Brian Thorene, Mike Smeaton, Tristan Nelson-Hauer, David Vinnicombe,
Lars Brogaard, and Sven Jrgensen.
A dramatic upward look at the production, including the new arrays.
L1210 pp24-28 Rod Stewart.indd 26 9/26/12 12:25 PM
Yamaha Commercial Audio Systems, Inc. P. O. Box 6600, Buena Park, CA 90620-6600 2012 Yamaha Commercial Audio Systems, Inc. www.yamahaca.com
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a channel color bar, channel naming and sleek faders, this new addition looks
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LS1210 ppxx Yamaha-CL.indd 1 9/12/12 1:34 PM
28 Live Sound International October 2012 www.ProSoundWeb.com
:: Rod Stewart ::
5900 is a very smooth microphone.
Theyve changed the capsule a little
bit, so its a bit more open than it used
to be, so were still trying to polish up
the old ones and use them because they
work really well for his voice.
Following a round of promotional
dates coming up in support of Stewarts
rst Christmas album, Merry Christ-
mas, Baby, as well as the publication of
his autobiography by Random House,
Brogaard intends to further tweak the
system in anticipation of a 2013 tour.
The next thing is networking, he says.
Each box has its own DSP control, so
we still end up running a lot of copper.
I want to talk to Meyer about nding a
way to do that in a smarter way with a
digital signal path.
Stewart s popul arity endures,
exemplied by overall album sales in
excess of 150 million and 18 Grammy
nominations. But what Brogaard
loves about his gig has nothing to do
with sales stats or the hardware lining
Stewarts mantle. Instead, its rooted
rmly in his respect for Stewart as a
performer, artist and individual. Hes
an extremely musical person who gives
an enormous amount on stage, and
thats what makes this job for me.
And by constantly working to update
the live concert rig, hes doing all he can
to ensure the audio performance gives
just as much every night. I think Ive
done close to 3,000 shows with the guy,
so were hoping were going to get it right
sooner than later, he says, laughing. n
Based in Toronto, KEVIN YOUNG is
a freelance music and tech writer, profes-
sional musician and composer.
LEO marks Meyer Sounds rst live sound product packaged as a system,
consisting of the self-powered LEO-M line array loudspeaker, 1100-LFC low-
frequency control element (also self-powered), and Galileo Callisto loudspeaker
management system. MICA arrays can be integrated seamlessly as down lls,
and JM-1P as in and out lls.
Because of its linearity, LEO can translate a mix to the audience with preci-
sion, with sonic tonality and balance unchanged regardless of levels. As a
result, the engineer can focus more on the mix rather than compensating for
unpredicted behavior found in non-linear designs.
LEO-Ms REM manifold, cone and compression drivers, and the precise
phase and magnitude alignment are all specically intended to enable accurate
vertical and horizontal coverage control, even at continuously high output levels.
Meyer Sound also states that as a 2-way element, LEO-M has fewer crossovers
and interactions between different drivers, and facilitates an even frequency
response across all frequencies.
An optimally tuned, vented cabinet houses the 1100-LFCs two linear, high-
excursion 18-inch cone drivers. A 2-channel Class AB/H bridged amplier with
complementary MOSFET output stages supplies ample continuous and peak
power to the drivers. The amplier, control electronics, and power supply are
integrated into a single, rear-mounted module that is eld replaceable. The
1100-LFCs operating frequency range is 28 Hz to 100 Hz.
Note that Meyer Sound will be presenting a webinar on ProSoundWeb on
November 15 at 2 pm (U.S. Eastern time) to further discuss and explain its work
on sound system linearity. Go to the home page at www.prosoundweb.com
and click on the webinar icon on the home page to register.
About LEO
.c
o
m
L1210 pp24-28 Rod Stewart.indd 28 9/26/12 9:47 AM
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LS1210 ppxx Sennheiser.indd 1 9/17/12 11:05 AM
30 Live Sound International October 2012 www.ProSoundWeb.com
>>>>
INFOCUS
Size
Matters
Comparing large- and small-
diaphragm condenser mics.
by Bruce Bartlett
THERE ARE TIMES with the choice
of a microphone to best meet a par-
ticular application comes down to a
large-diaphragm and small-diaphragm
condenser model (LDC and SDC,
respectively). But what do these terms
even mean, and what are the pros and
cons of each?
An LDC has a diaphragm diameter
of 1 inch or larger, while an SDC dia-
phragm is under 1 inch. That simple
spec has a wide range of effects on the
mics performance.
SENSITIVITY & NOISE
All else being equal, an LDC is more
sensitive than an SDC, and also tends to
generate a higher output voltage, given
the same input SPL. Typical LDC sen-
sitivity is about 22 mV/Pa, while typi-
cal SDC sensitivity is about 10 mV/Pa.
(One Pa or pascal is 94 dB SPL.)
Why is a larger diaphragm more
sensitive? Remember that a condenser
mic is made of a conductive diaphragm
next to a conductive backplate. Those
parts are charged with a bias voltage
across them, forming a capacitor. When
sound waves vibrate the diaphragm in
and out, the capacitance varies in step
with the sound waves, which in turn
generates a signal voltage that varies in
step with the sound waves.
The changes in capacitance due
to the vibration are bigger for a large,
high-capacitance diaphragm than for a
small diaphragm, so the output signal
voltage is higher for a large diaphragm.
Also, just as a large sail moves a boat
with more force than a small sail, sound
waves force a large diaphragm to move
more than a small one. The greater
diaphragm displacement in the LDC
results in a higher signal voltage.
Because an LDC provides a stronger
signal above the noise oor of the mics
electronics, the signal-to-noise ration
(S/N) tends to be higher. So an LDC
is often a good choice when amplify-
ing (or recording) a quiet instrument or
ensemble from a distance without add-
ing noise from the mic or mic preamp.
Thats why an LDC excels as an ambi-
ence or room mic.
FREQUENCY RESPONSE
Again, all else being equal, most LDC
directional mics have a deeper low-fre-
quency response than SDC directional
mics (Figure 1). Thats because the
resonance frequency of the diaphragm
is lower in the LDC due to the dia-
phragms higher mass.
The response difference also could
be an intentional design decision. So if
you want to capture a deep, authorita-
tive tone from tom toms or a vocal, you
might make an LDC your rst choice.
On the other hand, the smaller mass of
an SDCs diaphragm helps it respond
better to extreme high frequencies as
with cymbals.
Suppose youre using overhead mics
At left, an Audio-Technica
AT4041, an example of an
SDC; at right, an AKG C 414
XLS, an example of an LDC.
FIGURE 1 The published frequency responses of a Neumann U 87 Ai, an LDC
(above), and a Neumann KM 184 A, an SDC.
L1210 pp30-33 In Focus.indd 30 9/25/12 2:54 PM
SD5 Main Features:
124 Input Channels
56 Confgurable Busses Plus
Master Buss
24 x 24 Matrix
24 Dynamic Equalizers
24 DiGiTuBes
24 Multiband Compressors
24 Digital FX
32 Graphic Equalizers
Multi Channel Folding
8x AES/EBU I/O (mono)
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Incorporating the master screen into the worksurface design has allowed for complete user feedback, but maintained a lower profle
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LS1210 ppxx DiGiCo.indd 1 9/24/12 10:39 AM
32 Live Sound International October 2012 www.ProSoundWeb.com
:: In Focus::
on a drum set. If you want those mics to
pick up mainly the cymbals, use a pair
of SDCs because they have less low end.
If you want to pick up the entire set
including toms with overhead mics,
use a pair of LDCs because they tend
to have more low end.
Note: an omnidirectional condenser
mic of any size tends to have an excel-
lent low-frequency response. Because
of the physics of an omni condenser
design, the mic responds well to very
low frequencies, independent of the
diaphragm size.
Most LDCs have a grille structure
surrounding the diaphragm. That grille
causes internal reflections and filter-
ing, which usually results in a rougher
frequency response than with an SDC,
which lacks that grille.
PROXIMITY EFFECT
Directional mics have a rise in low-
frequency response when used close to
a sound source. Its called the proximity
effect. An SDC tends to roll off more at
low frequencies than an LDC.
So the proximity effect emphasizes
the mid-lows in an SDC, but empha-
sizes the deep lows in an LDC. As a
result, an up-close SDC may have a
puffy midbass boost a coloration
less likely to be heard with an LDC.
Because its proximity effect tends
to sound better, an LDC is the most
popular choice for micing vocalists in
the studio.
As a side note, the proximity effect
is a low-Q phenomenon (about +3 to
+6 dB per octave). When rolling off the
lows to compensate for a mics up-close
bass boost, use a broad, low-Q lter set-
ting such as 0.5.
TRANSIENT RESPONSE
Because of its smaller mass, an SDC
diaphragm responds more quickly to
transient sounds than an equivalent
LDC. This makes an SDC a good
choice whenever for capturing fast
transients cleanly, as with an acoustic
guitar, metal percussion, or cymbals.
OFF-AXIS COLORATION
Most SDC mics have less off-axis color-
ation than LDC mics. Heres why.
When sound waves approach a mic
diaphragm off-axis, they travel across
the diaphragm. Each sound wave has a
high-pressure peak and a low-pressure
trough. High-frequency sounds with
small wavelengths tend to partially can-
cel due to phase interference when
the waves pass across the diaphragm.
The smaller the diaphragm, the less
phase shift there is across the diaphragm
from a side-arriving sound wave. Less
phase shift means less cancellation of
high frequencies. In other words, an
SDC tends to have a atter high-fre-
quency response off-axis, while an LDC
tends to roll off in the highs.
Also, most LDC designs mount
the mic capsule inside a cylindrical
housing or grille (Figure 2). That cre-
ates reections and ltering inside the
grille which affect the mics frequency
response and polar pattern.
In contrast, in most SDC mics the
capsule is mounted on the end of a
stick- or pencil-shaped housing (Fig-
ure 3). The capsule has no grille around
it to mess up its frequency response and
polar pattern another reason for the
SDCs lack of off-axis coloration.
When is off-axis coloration a prob-
lem? Whenever sound approaches
the mic at a wide angle away from
the front. Examples are an orches-
tra, grand piano, or other large sound
sources. Because SDC mics pick up
highs well off-axis, they nd use as a
stereo pair to capture an orchestra or
symphonic band.
Off-axis coloration is less of an issue
when micing studio singers because
they tend to stay on-axis. However,
leakage comes into the mic from all
angles, so an LDC tends to color leak-
age more than an SDC.
PSYCHOLOGY 101
Specs aside, consider the psychologi-
cal effect of a larger mic on a singers
FIGURE 2 A large-diaphragm cap-
sule is usually housed inside a large
vertical cylinder. It is side-addressed.
FIGURE 3 A small-diaphragm capsule is usually mounted on the end of a narrow
cylinder. It is end-addressed.
L1210 pp30-33 In Focus.indd 32 9/25/12 2:54 PM
www.ProSoundWeb.com October 2012 Live Sound International 33
performance. Lets face it: an LDC in
a shock mount just looks cooler than
an SDC on a clip. Singers feel special
when their microphone looks large and
important.
An LDC side-addressed design
looks more like a passive ear, saying
Im listening. An SDC points accus-
ingly at the singer, saying youd better
watch it.
Choose an LDC when the applica-
tion needs:
v Low noise and high sensitivity
v Deep low-frequency response
v Good-sounding proximity
effect on singers
v A cool look
Some applications: Studio vocals,
ambience, deep-sounding drums,
micing a drum kit overhead when the
overhead mics are the main pickup
for the toms, quiet or distant instru-
ments or vocals, distant single-mic
technique for old-time for blue-
grass bands.
Choose an SDC when the applica-
tion needs:
v Extended high-frequency
response
v Flatter frequency response
v Increased directivity
v Lower handling noise
v Excellent transient response
v Low off-axis coloration (A wider
pattern at high frequencies)
Some applications: Acoustic instru-
ments, percussion, cymbals, orches-
tral stereo micing, and spot micing
FINAL NOTE
The specifications of any particular
mic, and its sound, are often more
important than whether that mic is
an LDC or SDC. You might come
across an LDC with poor S/N or poor
low-frequency response. A particular
LDC might sound brighter than an
SDC. It depends on the individual
mics design.
For example, an Audio-Technica
AT4041 is an SDC, but it has an excel-
lent response down to low frequencies.
Dont be locked into using an LDC
when an SDC might sound better, and
vice versa. The old adage, as always,
still applies: use whatever mic that
sounds best. n
BRUCE BARTLETT is a micro-
phone engineer (www.bartlettmics.com),
recording and live sound engineer, and
audio journalist. His latest book is Prac-
tical Recording Techniques 6th Edition.
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L1210 pp30-33 In Focus.indd 33 9/25/12 2:54 PM
34 Live Sound International October 2012 www.ProSoundWeb.com
AS A LONG-TIME AUDIO ENGINEER based in Southern California, Paul
Beach has earned a reputation for doing things outside the norm, lending his system
design and mixing talents to performances on a number of levels, including large-
scale outdoor events.
It seems that I have a knack for working my way into situations that require
going beyond what many traditionally expect of technology, he says. I may use
gear in an unorthodox fashion at times, but the net result always clears a path to the
desired endpoint.
An example of his methodology is an audio rig hes congured for use with
regional reworks shows that brings choreographed soundtracks to a number of
outdoor zones as well as a main viewing area. Ranging in size from 500 to 10,000,
crowds gathered for these events sprawl like a serpent over landscapes teeming with
buildings, trees, and countless other obstacles standing in the way of providing even
or just about any coverage.
The delayed loudspeaker runs to satellite viewing areas at these shows are just
about impossible for cable, mainly because of the labyrinth of routing required to get
through all the twists, turns, and other impediments found in the environment, he
explains. Seeking a solution, he decided
to chart an signal delivery path to sec-
ondary viewing areas directly as the
crow ies by going wireless.
DEVELOPING THE IDEA
The wireless delivery design was rst
enabled a number of years back with
the assistance of long-time friends
and collaborators Jon Bart of Quiet
Voice Audio from nearby Fallbrook,
CA, and Mike Cromer of Huntington
Beach, CA-based Audio Geer. The
two had been encouraging Beach to
develop the idea for some time prior
to his actual decision to make it real-
ity, and they helped in fullling gear list
requirements.
He began pursuing his vision for
the system about ve years ago. It was
to be straightforward and bulletproof,
requiring little more in the way of
hardware than a music source, com-
pact mixing capabilities, loudspeakers,
and some sort of wireless transmis-
sion/retrieval scheme. He started with
a Shure PSM700 UHF frequency-
agile, 2-channel system as the heart
of the wireless aspect. While designed
for personal monitoring applications
using beltpacks and earbuds, in Beachs
mind there was no reason the PSM700
couldnt be tweaked to serve in a much
broader capacity as the foundation of a
larger-scale wireless sound reinforce-
ment component.
On the loudspeaker end of the
equation he brought in a pair of 2-way
Mackie SRM450s and placed them on
Ultimate Support stands to serve his
intended area of delayed coverage. A
16-channel Mackie 1604-VLX Pro
Series mixer managed mixing chores,
while wireless operation was made
completely weatherproof by mounting
the PSM700 system receiver inside of
a Pelican dry box (acquired from the
local Frys Electronics store), outtted
with a rubber lining and rubber seal.
Creative thinking results in a wireless solution. by Gregory A. DeTogne
Beyond The Cable
>>>>
FRONTLINES
Paul Beach with one of the
loudspeakers he utilizes in
his distributed wireless rig.
L1210 pp34-37 Front Lines.indd 34 9/25/12 2:58 PM
30 years
of fun,
obstinacy
and neutral
sound:
d&b is d&b.
They say that d&b have built a selection of remarkable sound
reinforcement systems in the course of time. All of them efficient
tools for sound engineers, not forgetting the rental companies as
well as the artists. Whatever: d&b as usual.
W
a
c
k
e
n
O
p
e
n
A
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F
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v
a
l
,
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m
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y
w
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.
d
b
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i
o
.
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LS1210 ppxx d&b.indd 1 9/11/12 2:17 PM
36 Live Sound International October 2012 www.ProSoundWeb.com
:: Front Lines::
The box was simply attached
to the side of one of the self-
powered loudspeakers.
Ut i l i zi ng Shure paddl e
antennas at both the receiver
and transmitter ends of the
PSM700 system, his goal was
to send quality sound over
1,000 feet filled with other
potentially interfering RF sig-
nals and the aforementioned
trees and buildings. While tra-
ditional cable runs for the loud-
speakers would have exceeded
as much as 1,200 feet, Beach
lucked-out in his initial use
of the new system in terms of
AC sources for the loudspeak-
ers, which were located a mere
15 feet away from each cabinet
next to some planters in the
landscape.
ASSEMBLY REQUIRED
Once Beach powered-up for the
debut of the rig, the PSM700
receiver took readily to its new
home inside the Pelican box.
Two ush-mounted XLR con-
nectors were added to the box. The
receivers antenna connector was also
made easily accessible, and connected
to a 25-foot long cable leading to a
paddle antenna mounted atop an eight-
foot tall boom stand.
The PSM700 receivers output left
the Pelican box traveling in stereo on
standard XLR mic cables to the loud-
speakers. Later, Beach switched to
mono mode to basically double the
power and obtain a more stable signal.
(Stereo isnt a primary concern with
this application anyway. And, all con-
nections are balanced.)
From the receiver which was held
in place with velcro inside the Pelican
box a 1/8-inch TRS cable terminated
with soldered connections at the ush-
mounted XLR connectors. Beach built
a cable with a Lemo connector on one
end and a BNC connector on the other
to run between the receiver and a ush-
mount BNC connector mounted in the
Pelican box chassis. A standard Shure
antenna cable ran from the Pelican box
out to the paddle antenna.
When I first tested the system
with Mike (Cromer), we just had a
shorty antenna on the receiver like
youd use onstage, Beach notes.
On the transmitter we had an
1/8th wave antenna. The system
worked with those, so we gured
performance would only get bet-
ter with paddles at both ends,
and it did boosting our range
to distances unbelievably beyond
factory specs. The first time I
used the system for a show, I set
the receivers volume at about 75
percent.
CONTROL CENTRAL
Fast-forward to today, and we
find that Beachs wireless out-
door system has morphed and
changed with the times, evolv-
ing to keep pace with the chang-
ing needs of the shows. While
in its earlier incarnations the
system called upon a Denon
DVD-2910 DVD player as the
medium of choice for playing the
soundtrack, delivering SMPTE
for lighting effects, or a time
code called FSK favored by pyro-
technicians, 2012 finds the rig
subscribing to a design philoso-
phy emphasizing as few moving parts as
possible. Central to the control scheme
these days in an iPad, which stores all
elements of the soundtrack.
All of my music les were rendered
and edited in Sony Vegas Pro, he adds,
then I created a playlist in iTunes
for export to my iPad. Using one of
two apps I downloaded, the les are
assigned to touchscreen buttons pro-
viding me with the ability to load my
show quickly, and change it just as fast
on the y if I have to. Its a exible,
fast, and stable designeverything you
want in other words.
To better facilitate the use of the
iPad which is configured for left
channel audio and right channel time
code for the pyro Beach chose an
Alesis IO dock that provides pro audio
The wireless receiver mounted inside of
the dry box.
The dry box attached to the side of the loudspeaker,
ready to go.
L1210 pp34-37 Front Lines.indd 36 9/25/12 2:58 PM
www.ProSoundWeb.com October 2012 Live Sound International 37
quality output as well as charging
capabilities for the little tablet com-
puter. The apps in use on the iPad
are LiveTrax and SoundCue. While
both offer random access features and
assignable icon-based control, Live-
Trax also provides Beach with a linear
approach to le management, within
which he can view track lists as they
play in sequential order.
Beyond the tracks, the system today
has moved to a small-format Allen
& Heath mixer, and added Shure
PSM900 systems to its available inven-
tory of IEM transmitters and receiv-
ers. Ive discovered that the 900 is a
stronger component in terms of giv-
ing me higher audio delity and really
decent range that exceeded any prac-
tical expectations I had, he reports.
I can reach my receiver at distances
of over 1,500 feet with obstructions
all along my path and still maintain a
good, strong signal.
Never one to rest upon his laurels,
Beach is looking for ways that the
unconventional system can be taken to
yet another level. Im looking forward
to the day when I can actually send a
digitally-encoded multi-channel audio
signal out from the Alesis or some other
type of iPad audio interface, he says.
That way I can either get 5.1, or in more
practical terms, just the ability to run
stereo out to my main arrays at FOH
and stereo out for channels three and
four, which are traditionally reserved for
rear surround and my delay
This type of creative thinking is a
staple of his world. Onstage as a musi-
cian, the Southern Californian has
played bass with the Mamas & the
Papas, as well as a host of other 1960s
pop rock icons such as Gary Puckett
and the Union Gap, The Association,
and Spanky and Our Gang. And off-
stage, its pretty obvious that hes been
endowed with similarly creative, albeit
more technical, capabilities. n
GREGORY A. DETOGNE is a writer
and editor who has served the pro audio
industry for the past 30 years.
The iPad in the Alesis IO dock thats
congured for audio as well as time code
for pyro.
Professional Loudspeakers
Celestion compression
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reinforcement systems.
Find out what
Celestion compression
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for you at
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www.celestion.com
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L1210 pp34-37 Front Lines.indd 37 9/25/12 2:58 PM
38 Live Sound International October 2012 www.ProSoundWeb.com
REALW RLDGEAR
To Boldly Go
Theres plenty of power in modern ampliers.
by Live Sound Staff
IN THE ORIGINAL SCI-FI TV SERIES Star Trek,
Captain James T. Kirk of the Starship Enterprise frequently
implored his chief engineer, Mr. Scott (a.k.a. Scotty), We
need more power! And Scotty always did his best to comply
with the captains request, regardless of the complications of
the situation.
Sound reinforcement system designers and engineers have
made similar demands of power amplier manufacturers, and
like Mr. Scott, theyve come through, and in spectacular fash-
ion. The modern power amplier is light years removed (par-
don the pun!) from the huge, heavy and inefcient designs
of the recent past. Current designs are also far lighter, and in
some cases, come in a compact package that more resembles
a rack-mount processor than a device capable of generating
several thousand watts of audio power.
Consider that a decade or so ago, the agship model of
one of the leading amplier makers delivered 2,000 watts per
channel into 4 ohms, from a package weighing 77 pounds
while occupying four full rack spaces. Presently, that same
companys current agship model provides 4,500 watts per
channel into 4 ohms from a package that weighs just 28
pounds and takes up only two rack spaces.
The primary advancement has been to make the brutes
more efcient. Greater output efciency means less heat, and
therefore, less weight, as well as more AC power, making it to
the loudspeakers. Note that not every newer amplier cranks
out thousands of watts, but lower output models have also
benetted from these design advances.
The most common amplier topology now is Class D
(and variations), which uses an on-off switching method for
its transistors called Pulse Width Modulation. Because its
output devices are either on or off, the efciency of the ampli-
er is greatly increased, and this is done without jeopardizing
the integrity of the audio waveform by switching positive
and negative output transistors on and off many times per
waveform cycle.
This method is analog, but similar in theory to digital
sampling where a 44.1 kHz sampling rate is used to accu-
rately capture a 20 kHz signal. This rapid switching creates
a square wave that is then low-pass ltered to recreate the
audio waveform.
Class G amplier designs take a post-AB Class signal and
switch it between two power supplies one for softer output
levels and other for louder. Efciency improves as the power
amplier draws full power from the AC source when higher
a level of amplication is needed.
Class H also works on the two-power supply output, but
instead of simply switching between lower and higher volt-
age power supplies, the second power supplys voltage level is
controlled via the audio input signal. If the signal increases,
so does the power supplys voltage.
Class I, developed and patented by Crown Audio, is an
advancement of the Class D switch-mode design. It helps
eliminate a drawback of Class D the potential for distor-
tion in the moment that one transistor turns off and another
turns on.
The addition of DSP into the package is a further
enhancement, offering convenience, space and cost savings,
operating efciencies, performance advantages and more.
Many modern ampliers also benet from networked control
protocols, making them easier than ever to congure and
monitor during a show.
Theres a lot to like when it comes to power ampliers,
and a variety of options abound. Enjoy this Real World Gear
look at premium models and series for sound reinforcement
applications.
>>>>
L1210 pp38-42 RWG.indd 38 9/25/12 5:03 PM
www.ProSoundWeb.com October 2012 Live Sound International 39
NEXO NXAMP Series
www.yamahaca.com
The Tulalip Resort Casino,
located in Tulalip, WA near the
Central Puget Sound, is owned
and operated by the Tulalip
Indian Tribe. Clarity Media
Group (CMG) of Lake Oswego,
OR was hired as the design/
build contractor to upgrade the existing audio/video system in the casinos 480-seat
Canoes Cabaret entertainment lounge, working closely with house audio engineer
Erik Otto. My goal was to create a one-of-a-kind experience for guests that they
would not nd anywhere else, states Otto. CMG chose a NEXO GEO S12 line
array, NXAMP 4x4s, and Yamaha M7CL-48ES as part of the clubs main PA.
The NXAMP 4x4 is one of the industrys most powerful ampliers, yet is very
cost effective, says Travis Cibolski, co-owner and system designer for CMG. It
is a DSP and ampli-
er all in one, elimi-
nating the need for
unnecessary A/D
conversion.
TECHNOLOGY FOCUS
NXAmps use legendary Yamaha EEEngine technology, and offer the sonic purity of conventional class AB
but with a heat dissipation equaling class D technology. NXAmp power supplies are full resonance-type
with half bridge converters. The unique design minimizes noise via ZCS (Zero Crossing Switch) technology.
NXAmp 4x4 employs four times the structure of a mono amp for a very high power, low impedance load.
KEY SPECIFICATIONS
Number of Models: 2
Top model: NXAMP 4x4
Class: Yamaha EEEngine
Channels: 4
Output Power (per channel): 3300 watts @ 4 ohms;
1900 watts @ 8 ohms
Bridge Mono Mode: Congured 2x2 in bridge mode
Damping Factor: >800
Outputs: 4 x Speakon
DSP: Two DSPs, 24-bit data with 48-bit accumulator.
700MIPS
Size: 4U
Weight: 49 pounds
:: Real W rld Gear: Spotlight Listings::
Crown Audio I-Tech HD Series | www.crownaudio.com
Yamaha TXn Series | www.yamahaca.com
QSC Audio PowerLight 3 Series | www.qscaudio.com
Lab.gruppen PLM Series | www.labgruppen.com
Number of Models: 3
Top model: PL380
Class: D
Channels: 2
Output Power (per channel):
2500 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode:
4000 watts @ 4 ohms
Damping Factor: >200
Outputs: Speakon (ch 1 wired to
both channels), binding post
DSP: Optional plug-in card
Size: 2U
Weight: 24 pounds
Number of Models: 3
Top model: PLM20000Q
Class: TD
Channels: 4
Output Power (per channel):
4400watts @ 4 ohms
2300 watts @ 8 ohms
Bridge Mono Mode:
9600 watts @ 4 ohms
Damping Factor: NA
Outputs: Speakon or binding
posts (user specify)
DSP: Lake processing onboard
Size: 2U
Weight: 37 pounds
Number of Models: 3
Top model: I-T12000 HD
Class: I
Channels: 2
Output Power (per channel):
4500 watts @ 4 ohms
2100 watts @ 8 ohms
Bridge Mono Mode:
7500 watts @ 4 ohms
Damping Factor: >5000
Outputs: 4-Pole Speakon,
binding post
DSP: BSS OmnidriveHD with IIR
and FIR lters
Size: 2U
Weight: 28 pounds
Number of Models: 3
Top model: TX6n
Class: D
Channels: 2
Output Power (per channel):
3000 watts @ 4 ohms
1800 watts @ 8 ohms
Bridge Mono Mode:
5500 watts @ 4 ohms
Damping Factor: >800
Outputs: Speakon NL4
DSP: Onboard 24-bit/96-kHz
engine
Size: 2U
Weight: 35.3 pounds
L1210 pp38-42 RWG.indd 39 9/26/12 1:49 PM
40 Live Sound International October 2012 www.ProSoundWeb.com
Powersoft K Series
www.powersoft-audio.com
Powersoft K2 and K3 amplifiers
powered the large-scale main stage
system at this years EdgeFest festi-
val, held at the 30,000-capacity FC
Dallas Stadium in Frisco, TX. Dal-
las-based Gemini Light Sound &
Video supplied production for the
event, which featured The Black
Keys, Cake, Cage the Elephant,
Arctic Monkeys, Neon Trees, and many others.
Gemini has switched to Powersoft over the past two years, according to sys-
tem tech Chad Cain (pictured above with Gemini owner Tim Cain). He notes
that the K2 and K3 ampliers offer a number of advantages over the companys
previous amps. One reason we went to Powersoft amps was the light weight and
the size of them, he says. We can get a lot more power out of a lot more usable
space, so our racks are smaller and lighter.
We went from using an amplier that weighs 80 pounds, with four of them
running eight boxes, he continues, to six Powersoft amps, weighing 26 pounds
each, running 12 boxes. That has signicantly cut down the weight of the racks.
The K2 and K3 ampliers, at just 1RU in height, also take up less rack space
than the previous models.
SOUND COMPANIES
HAS Productions Las Vegas
Special Event Services Winston-Salem, NC
Dowlen Sound, Arvada, CO
ATK Audiotek Valencia, CA
Maryland Sound International, Baltimore, MD
Pro Production Services Phoenix, AZ
Speeda Sound Fresno, CA
Clair Global Lititz, PA
KEY SPECIFICATIONS
Number of Models: 6
Top model: K20
Class: D
Channels: 2
Output Power (per channel): 5200 watts @ 4 ohms;
2700 watts @ 8 ohms
Bridge Mono Mode: 18000 watts @ 4 ohms
Damping Factor: >5000
Outputs: Speakon NL4MD
DSP: Optional KDSP board
Size: 1U
Weight: 26.5 pounds
:: Real W rld Gear: Spotlight Listings::
Ashly Audio NE Series | www.ashly.com
Alcons Audio ALC Series | www.alconsaudio.com
Carvin DCML Series | www.carvin.com
Electro-Voice Tour Grade Series | www.electrovoice.com
Number of Models: 6
Top model: DCM3800L
Class: AB
Channels: 2
Output Power (per channel):
1150 watts @ 4 ohms
700 watts @ 8 ohms
Bridge Mono Mode:
3800 watts @ 4 ohms
Damping Factor: >500
Outputs: Speakon-1/4-in combo,
binding posts
DSP: No
Size: 2U
Weight: 14 pounds
Number of Models: 2
Top model: TG7
Class: H
Channels: 2
Output Power (per channel):
2500 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode:
700 watts @ 4 ohms
Damping Factor: >225
Outputs: 4-pole twist lock
DSP: Optional modules
Size: 2U
Weight: 32 pounds
Number of Models: 3
(constant voltage
models also
available)
Top model: NE2400
Class: D
Channels: 2
Output Power (per channel):
1200 watts @ 4 ohms
700 watts @ 8 ohms
Bridge Mono Mode: 2400 watts
@ 8 ohms (no 4 ohm rating)
Damping Factor: >250
Outputs: Speakon, Euroblock
DSP: Protea DSP optional
Size: 2U
Weight: 21 pounds
Number of Models: 4
Top model: ALC Sentinel12
Class: D
Channels: 4
Output Power (per channel):
2500 watts @ 4 ohms
Damping Factor: N/A
Outputs: Speakon NL4
DSP: Onboard 400 MHz Analog
Devices SHARC
Size: 2U
Weight: 25.4 pounds
Note: This data is preliminary for
this new product. More infor-
mation will be available soon.
L1210 pp38-42 RWG.indd 40 9/26/12 12:26 PM
www.ProSoundWeb.com October 2012 Live Sound International 41
Mackie FRS Series | www.mackie.com
MC2 Audio E Series | www.mc2-audio.co.uk
dBTechnologies HPA Series | www.dbtechnologies.com
Alto Pro APX Series | www.altoproaudio.com
D.A.S. Audio SLA Series | www.dasaudio.com
Crest Audio Pro-LITE Series | www.crestaudio.com
Outline T Series | www.outlinearray.com
Peavey IPR Series | www.peavey.com
Number of Models: 3
Top model: SLA-4000
Class: H
Channels: 2
Output Power (per channel):
1400 watts @ 4 ohms
850 watts @ 8 ohms
Bridge Mono Mode:
4000 watts @ 4 ohms (2 ch)
Damping Factor: >200
Outputs: Speakon, binding post
DSP: No
Size: 2U
Weight: 24.2 pounds
Number of Models: 2
Top model: Pro-LITE 3.0
Class: D
Channels: 2
Output Power (per channel):
870 watts @ 4 ohms
450 watts @ 8 ohms
Bridge Mono Mode:
3150 watts @ 4 ohms
Damping Factor: >255:1
Outputs: Speakon
DSP: Both models available in
DSP versions
Size: 2U
Weight: 13.3 pounds
Number of Models: 4
Top model: T Eleven
Class: D
Channels: 2
Output Power (per channel):
4000 watts @ 4 ohms
2000 watts @ 8 ohms
Bridge Mono Mode:
12000 watts @ 4 ohms
Damping Factor: >5000
Outputs: Speakon NL4MP
DSP: Optional
Size: 1U
Weight: 26.5 pounds
Number of Models: 4
Top model: IPR DSP 7500
Class: D
Channels: 2
Output Power (per channel):
2020 watts @ 4 ohms
1250 watts @ 8 ohms
Bridge Mono Mode:
2400 watts @ 4 ohms
Damping Factor: >225
Outputs: 4-pole twist lock;
1/4-inch signal patch
DSP: Comprehensive onboard
(non-DSP versions also
available)
Size: 2U
Weight: 6.2 pounds
Number of Models: 2
Top model: FRS-2800
Class: H (model FRS-
1700 is AB)
Channels: 2
Output Power (per channel):
850 watts @ 4 ohms
500 watts @ 8 ohms
Bridge Mono Mode:
2800 watts @ 4 ohms
Damping Factor: >300
Outputs: Combo XLR/TRS input
and TRS thru
DSP: No
Size: 2U
Weight: 22 pounds
Number of Models: 6
Top model: E100
Class: D
Channels: 4
Output Power (per channel):
2800 watts @ 4 ohms
1400 watts @ 8 ohms
Bridge Mono Mode:
7400 watts @ 4 ohms (2 ch)
Damping Factor: >400
Outputs: 4-pole Speakon
DSP: No
Size: 2U
Weight: 26 pounds
Number of Models: 4
Top model: HPA 3100L
Class: HD
Channels: 2
Output Power (per channel):
1200 watts @ 4 ohms
800 watts @ 8 ohms
Bridge Mono Mode:
3400 watts @ 4 ohms
Damping Factor: >1000
Outputs: Speakon
DSP: No
Size: 2U
Weight: 30.8 pounds
Number of Models: 2
Top model: APX1500
Class: D
Channels: 2
Output Power (per channel):
750 watts @ 4 ohms
370 watts @ 8 ohms
Bridge Mono Mode:
1500 watts @ 8 ohms
Damping Factor: N/A
Outputs: Speakon NL4,
binding posts
DSP: No
Size: 2U
Weight: 12.8 pounds
L1210 pp38-42 RWG.indd 41 9/25/12 5:04 PM
42 Live Sound International October 2012 www.ProSoundWeb.com
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CAMCO Vortex Silver Series | www.camcoaudio.com
Behriner iNUKE Series | www.behringer.com
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Number of Models: 2
Top model: F2000TX
Class: H
Channels: 2
Output Power (per channel):
2000 watts @ 4 ohms
1300 watts @ 8 ohms
Bridge Mono Mode:
4600 watts @ 4 ohms
Damping Factor: >500
Outputs: Speakon NL4MP
DSP: No
Size: 2U
Weight: 59 pounds
Number of Models: 1
Top model: PowerMatch
PM8500
Class: D
Channels: 8 (Outputs can be
congured as single, dual, or
quad channel modes)
Output Power (per channel):
500 watts @ 4 ohms
300 watts @ 8 ohms
Bridge Mono Mode:
2000 watts @ 4 ohms
Damping Factor: >1000
Outputs: 8-pin Phoenix
DSP: Onboard
Size: 2U
Weight: 28 pounds
Number of Models: 1
Top model: Vortex 8
Class: Hybrid H
Channels: 2
Output Power (per channel):
3800 watts @ 4 ohms
2200 watts @ 8 ohms
Bridge Mono Mode:
8000 watts @ 4 ohms
Damping Factor: >400
Outputs: 4-pole Speakon
(bi-amping possible)
DSP: Optional plug-in card
Size: 2U
Weight: 28.7 pounds
Number of Models: 3
Top model: NU6000DSP
Class: D
Channels: 2
Output Power (per channel):
3000 watts @ 4 ohms
1500 watts @ 8 ohms
Bridge Mono Mode: N/A
Damping Factor: N/A
Outputs: Twist-lock
DSP: Onboard, 24-bit/96 kHz
(models w/o DSP available)
Size: 2U
Weight: 12 pounds
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44 Live Sound International October 2012 www.ProSoundWeb.com
MORE THAN 700 PRODUCTION PERSONNEL and live sound operators
converged on Atlantas World Congress Center in September to check out the
second annual Live Sound Compact Systems Demo, held in conjunction with
the WFX Conference & Expo.
The demo, which topped last years total attendance gure, provides the rare
opportunity to directly listen to, evaluate, and compare more than a dozen com-
pact loudspeaker systems in a controlled listening environment. In addition, all
participating companies had representatives on hand to provide technical details
and pricing information.
The event was established in a full-size exhibit hall of the convention center,
with a 150-foot by 150-foot demo space draped off to dene the area and to help
eliminate reections. Carpet that covered the entire demo area furthered this goal.
Most of the participating manufacturers chose to highlight own compact
line arrays, including an early showing of the recently introduced Martin Audio
MLA Compact. Renkus-Heinz highlighted IC2 (IC Squared) digitally steered
system, while Danley Sound Labs took an entirely different path, utilizing just a
>>>>
SHOWREPORT
Raising the roof in Atlanta. by Live Sound Staff
Full Metal Demo
v WorxAudio X-Series XL5i-P
v Renkus-Heinz IC2 (IC Squared) IC2-FR
v QSC Audio WideLine-8 WL3082
v Outline MiniCOM.P.A.S.S iMode
v Martin Audio MLA Compact
v L-Acoustics KARA
v ISP Technologies HDL2208
v Electro-Voice EVA-2082S
v D.A.S. Audio AERO-8A
v Danley Sound Labs SM80
v Bose Professional RoomMatch
(variety of models)
v Alcons Audio LR7
v Adamson Metrix Series
DEMO SYSTEMS
L1210 pp44-48 Show Report.indd 44 9/25/12 3:07 PM
LS1208 DAS Web ad.indd 1 8/1/12 4:26 PM
46 Live Sound International October 2012 www.ProSoundWeb.com
:: Show Report ::
single SM80 coaxial loudspeaker on a
tripod stand to make its presentation.
THE FORMAT
Live Sound Senior Contributing
Editor Craig Leerman served as the
emcee for each one-hour full demo
session, where all systems were played
in a round-robin, random format,
supplied with identical audio tracks.
Listeners were able to move from sys-
tem to system, evaluating what they
were hearing and also observing each
systems scale, components and other
important details. Each participating
company also presented 20-minute
exclusive demo sessions on both days,
further showcasing their technologies.
The audio tracks were provided to
each system via a digital signal chain.
A PC loaded with .wav files of all
tracks fed a Focusrite Scarlett 8i6, an
8-input/6-output audio interface, with
the SPDIF signal going to a Yamaha
LS9 digital console, which was also
used as the systems master word clock.
From there, signal went out via an
Audinate Dante network on Cat-5e to
Link DGLink stage boxes, and from
there, each system received an analog
feed. This system backbone was capa-
bly managed by veteran sound pro-
fessional (and LSI contributor) Tim
Weaver of College Station, TX.
Following the initial system setup
and optimization process prior to the
demo, Leerman veried that system
each was no louder than 98 dB (pink
noise, C-weighted slow), measured at
an on-axis distance of 55 feet. Those
levels were then locked into place to
insure uniformity. Leerman also mas-
tered all of the program audio tracks
ahead of the event to insure they were
at the exact same level.
VALUABLE OPPORTUNITY
Prior to each demo session, all attend-
ees were supplied with a booklet con-
taining the key specications of each
system, including pricing information.
Further, two large-scale video screens
posted on the demo oor provided key
system information. Meanwhile, light-
ing to spotlight each system as it was
played was supplied by Mega Systems
of San Antonio, TX, with Guillermo
Cabada at the lighting board.
And, fol l owi ng each sessi on,
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L1210 pp44-48 Show Report.indd 46 9/25/12 3:07 PM
LS1007 ppxx Radial.indd 1 6/28/10 3:21:40 PM
48 Live Sound International October 2012 www.ProSoundWeb.com
:: Show Report ::
prize drawings were held, with lucky
attendees walking away with audio
products from Audio-Technica, Shure,
beyerdynamic, Earthworks, and Link.
By the way, Leerman also utilized a
Shure ULX-D wireless system for his
emcee duties.
WFX Atlanta 2012 continued the
events strong emphasis on education.
More than 50 conference sessions were
presented across six tracks (Audio/
Video/Lighting, Design, Facilities
Management, Leadership & Manage-
ment, Social Media & Communica-
tion, IFRAA), along with a sold-out
lineup of more than 50 Hands-On
Training sessions, including advanced-
level courses.
Plans are already underway for next
years compact system demo with
even more features for attendees to
be held in conjunction with WFX
Expo 2013 in Dallas. More on that as
soon as details are available.
And note that this event is not
limited to church sound and produc-
tion personnel. Anyone interested in
checking out a large selection of top
line arrays and loudspeakers in a con-
trolled live demo, all at one location,
is welcome to attend. n
At left, emcee Craig Leerman running a demo session, while at right, an attendee
gathers information.
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L1210 pp44-48 Show Report.indd 48 9/25/12 3:07 PM
LS1210 ppxx Renkus.indd 1 9/26/12 1:54 PM
50 Live Sound International October 2012 www.ProSoundWeb.com
FIRSTLOOK
>>>>
Compact Fidelity
Mackies new DLM Series loudspeakers.
by Keith Clark
IN LATE AUGUST, I was invited by Mackie to journey to Seattle for the unveil-
ing of the DLM Series, a new line of very compact, self-powered loudspeak-
ers. The series includes two full-range models (DLM8, DLM12), along with a
high-output compact subwoofer (DLM12S), that are well-suited for handling
club gigs and other portable live applications, delivering a lot of output from a
miniscule footprint.
In other words, it can get really loud for such a small box while retaining full-
range delity. During the launch event, this was borne out during a skillful live
acoustic performance by Glen Phillips, probably best known from his work as
singer/songwriter for Toad the Wet Sprocket.
Two key facets of the design work together to deliver the high output. A Class
D amplifier supplies up to 2,000 watts of acoustic power to a new transducer
design that Mackie calls TruSource Technology, optimized by onboard digital
processing.
TruSource incorporates either a 12- or 8-inch woofer with a 1.75-inch com-
pression driver in a coaxial conguration. Some of this approach is inspired by
transducer research and development done by sister company EAW, but its also a
unique take, using a newly developed single compact common-magnet design that
can attain the desired output while reducing the size and weight of the package.
The DLM8 (8-inch) measures 12.3 x 12.1 x 11.9 inches and weighs 22 pounds,
and is specied with a frequency response of 65 Hz to 20 kHz (-10 dB) and peak
output of 125 dB (at 1 m). The DLM12 (12-inch) spans 15.9 x 15.3 x 14.3 inches,
weighs 31 pounds, and has LF response down to 38 Hz. Peak output is listed at
128 dB.
Also onboard is an integrated digital mixer to assist in tailoring to an array of
applications. The mixer is outtted with a bright OLED screen and presents simple
one-touch operation. It offers an independent channel level, 3-band EQ and
16 effects, including reverb, chorus and delay, along with a multi-band feedback
The new Mackie DLM Series.
The integrated
kickstand for
monitoring
applications.
The DSP and I/O facilities on the back
of each cabinet.
L1210 pp50-51 First Look.indd 50 9/26/12 12:27 PM
www.ProSoundWeb.com October 2012 Live Sound International 51
destroyer. Six modes can be used for
tailoring the voicing of the system.
In addition, the DSP package
includes alignment delay of up to 300
ms for distributed applications where
one or more DLM boxes might extend
the range of a main system. Further,
three memory locations foster instant
venue setting recall. The digital cross-
over can be used with both DLM as
well as Mackie SRM Series loudspeak-
ers, with variable crossover control also
providing optimization with any loud-
speaker. Smart Protect protects both
the amplier and driver.
It s amazing that DLM speak-
ers are a third smaller than anything
in their class, but its the unmatched
power, processing and fidelity that
really sets DLM apart from every-
thing else, states Mackie senior VP
John Boudreau.
The DLM12S subwoofer also
sports a Class D amplifier driving a
single 12-inch, heat-treated woofer
with a 3-inch voice coil in extending
response down to 35 Hz. It includes six
XLR connects for exible I/O control,
including two line level inputs, two
full-range outputs (for side lls, etc.)
and two high-pass outputs for direct
connection to DLM mains.
Cabinets are made of PC-ABS with
powder-coated grille, and both full-
range boxes offer integrated kickstand
to provide extra up-tilt for stage moni-
toring. Also included is an integrated
pole-cup plus additional conguration
options that include wall mounting and
ying for installs.
The launch event proved to be
time well spent, and in particular, the
opportunity to hear a great artist like
Phillips perform with brand-new tech-
nology stands out. Its also interesting
to see where the market is heading in
terms of the size/performance aspect of
loudspeakers. One other note: Mackie
produced a hilarious video to accom-
pany the intro of the system. Be sure
to check it out on PSW by going to
www.prosoundweb.com and entering
Mackie in the search box.
DLM Series models will be avail-
able in the fourth quarter of 2012. The
price for the DLM8 is $879.99, and
for the DLM12, its $1,059.99. The
DLM12S is $1,249.99. (All prices U.S.
MSRP.) n
KEITH CLARK is editor in chief
of Live Sound International and
ProSoundWeb.
John Boudreau of
Mackie introducing DLM.
Glen Phillips performing
at the launch event.
L1210 pp50-51 First Look.indd 51 9/25/12 3:11 PM
52 Live Sound International October 2012 www.ProSoundWeb.com
SHOWCASE
>>>>
Complete Coverage
Implementing a new system at
Spartan Stadium. by Live Sound Staff
NEARLY 80, 000 STUDENTS,
alumni and fans pack Spartan Stadium
on the campus of Michigan State Uni-
versity for every home football game
each fall. MSU has regularly expanded
the facility since it was rst constructed
with just 14,000 seats in 1923, and just
in time for kickoff this year, Spartan
Stadium underwent a multi-million
dollar audio/video systems upgrade.
The project includes the Big Tens
largest video board (occupying 5,412
square feet) behind the south end zone
seating, two auxiliary video boards
beyond the north end zone, and a new
sound reinforcement system headed
by Danley Sound Labs loudspeakers
and subwoofers. Apart from lls, just
six Danley Jericho J3s provide all of
the new systems full-range coverage
to the entire venue, delivering point-
source delity and tremendous return
on investment.
Led by director of audio engineer-
ing Larry Lucas of Anthony James
Partners, Richmond, VA, conceived
and designed the new system, while
Pro Media/UltraSound of Hercu-
les, CA, handled the installation and
support services under the guidance of
senior designer and engineer Deme-
trius Palavos. He managed the project
from a germ of an idea to commission-
ing and beyond.
There is denitely a shift occur-
ring at the collegiate level that follows
the shift that has been underway at the
professional level for some time, notes
Palavos. Everyone is recognizing that
fans are routinely exposed to high-end
home entertainment systems and car
stereos. Even headphones and iPods
offer a full-frequency experience. Such
experiences have raised expectations for
game day. School ofcials are now rec-
ognizing the need to meet those expec-
tations at the collegiate level.
At the same time, however, budgets
remain tight given the stark economic
realities of shrinking endowments,
state-mandated austerity measures,
and charitable gifts that are, well, less
charitable than they might have been a
few years ago.
Danley systems have a lot to rec-
ommend them, says Lucas, but their
most obvious advantage is an unprec-
edented return on investment for the
client. The delity and coverage would
be excellent at any price, but the actual
price tag is tremendously low relative
to that kind of performance. We were
lucky at MSU because the Jericho J3
had just become available during the
designing stages.
Danley Sound Labs established
L1210 pp52-56 Showcase.indd 52 9/26/12 9:31 AM
www.ProSoundWeb.com October 2012 Live Sound International 53
Jericho as a point-source alternative
to line arrays. The J3, with a disper-
sion pattern of 60 x 40 degrees, incor-
porates six 15-inch woofers, eight
6.5-inch cone drivers and four coaxial
compression drivers all feeding a
large-scale horn within an enclosure
measuring 30 x 35.6 x 48 inches.
Its capable of providing appropriate
SPL by distance while sidestepping
destructive interference problems that
can plague high-output designs.
CONTROLLING ENERGY
Whereas Spartan Stadiums previous
sound reinforcement system resided in
the south end zone, Lucas designed the
new system to re from the north end.
Previously, additional energy spilled out
of the north side and into the commu-
nity of East Lansing, explains Lucas.
One of the loudspeaker
sets going into place,
including one of the SH
46 ll loudspeakers, TH
812 subwoofers, and J3
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54 Live Sound International October 2012 www.ProSoundWeb.com
:: Showcase::
By placing all of the loudspeaker ele-
ments at the north side, we could be sure
that any excess energy would spill out
onto the campus instead.
The design uses the two smaller
scoreboards on the north side as rigging
points for the Jericho J3s that are joined
by Danley TH 812 Tapped Horn sub-
woofers to enhance the low end. The
scoreboards are approximately 200 feet
apart, and the coverage from each effec-
tively splits the stadium in two.
Firing 500 to 600 feet to the south
end zone seating was the most compli-
cated and difcult throw, says Palavos.
Its a balancing act to get that right
and to still get even coverage and SPL
at mid-eld, beneath the clusters and
the upper deck.
The loudspeaker set afxed to the
northeast scoreboard is a mirror image
of that afxed to the northwest score-
board. On each, a pair of stacked Jeri-
cho J3s handle the far throw, whereas
a single J3 handles the intermediate
throw for the near- and medium-side-
line stands.
Three vertically-stacked TH 812
subwoofers per side collapse the low-
frequency beam to provide throw. The
TH 812, nicknamed the Rock Mon-
ster, incorporates eight 12-inch long-
excursion woofers, also horn-loaded. It
provides signicant forward directivity
due to its physical size and the bound-
ary that it creates. This forward direc-
tivity also helps minimize the energy
spilling behind the arrays.
Ten smaller Danley SH 46 loud-
speakers supply fill for areas on the
north side of the stadium that are in
the shadows of the larger boxes, such
A view of the two north end zone scoreboards that serve as the host of the split loud-
speaker sets.
Firing 500 to 600 feet
to the south end zone
seating was the most
complicated and
difcult throw.
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BACKPAGE
72 Live Sound International October 2012 www.ProSoundWeb.com
Not Created Equal
One guys take on the EQ process. by Greg Stone
FROM THE OUTSIDE LOOKING IN, the term equal-
ization seems harmless enough: Using equipment to tame or
enhance audio frequencies in order to obtain a more balanced
overall effect.
When Im working a gig, after the old Are you the DJ?
question, the next thing I usually hear involves EQ: How do
you do it? While some prefer to let the new automated gear
do the lions share of the EQ setup, others go by ear. My own
preference is a combination of both.
But whether Im using a single 1/3-octave unit or a string
of EQs for each channel in the system, my process remains the
same. Once the PA is up and operating normally, I address the
room, using a pink noise generator and RTA device to check
the overall response curve of the house. This gives me an idea
what the room needs.
As for preferred tools, there are numerous software pack-
ages available, and a lot of them do the job. Lately Ive been
favoring handy RTA apps being able to walk around the
coverage area with my iPad is a big help.
Front of house is a great spot to start, but is by no means
an accurate nal setting location. Room modes, comb ltering
effects as well as lots of other gremlins exist in every house.
They must be hunted down and addressed.
Im a big cut over boost fan. Most of my EQ curves,
oddly enough, look like gentle sine waves just slightly inter-
rupted with some notches. Ill cut the room mode as well as
obvious ring points by 6 to 8 dB. For better vocal clarity, I
look at the 2 kHz to 4 kHz region, boosting up to 2 dB or
so. It all depends on the brightness of the room, combined
with the fact that Im a big fan of getting the vocals heard
over the mix.
After working with pink noise is done, I move along to CD
tracks as source material, either from the band thats going
to be using the system, or something very similar. I use CDs
because I believe them to have superior response and compres-
sion characteristics over the iPod devices.
From here, I leave it to my ears, and its also where personal
preferences come in, things that dont show up in any measure-
ment system. Still, I only make ne adjustments (emphasis
again on ne), if at all. A little goes a long way.
By all means, stay away from compression on the mas-
ter outputs. While it might add lots of punch to the house,
squashing the mix destroys dynamic range. Save compressors
for the individual channels. (Thats a whole article in itself!)
If the console is digital, theres he opportunity to adjust the
Q or bandwidth of any frequencies being cut or boosted. Its a
big help in getting things ne-tuned.
Either way, once the house system is relatively at and the
room tamed as much as possible, its time to focus on sound
check. I dont care what anyone says, its very important to take
the time necessary to get each channel EQ set the way you feel
is best. Its not something to be rushed.
Whether mixing three channels or 30, once each channel
is set up, take a glance at whole console EQ conguration. If,
for example, theres a whole row of lows cut 6 dB, its prob-
ably time to readjust the house mix EQ to cut the lows at that
level, and then operate the channels near at. Again, a little
goes a long way.
Once things crank up for the show, there are numerous
things to contend with. Human bodies, temperature, humidity,
and monitor spill will try their best to shake us. The key is not
rushing into panic tweaking.
Let the band (and ourselves) settle into a rhythm. Relax
into the mix; make singular and small adjustments, and listen.
Unless we make a lot of jerky adjustments, the audience will
never notice, and were able to make them happy while calmly
perfecting the craft of mixing. n
GREG STONE has worked in live sound since 1976
and is the owner of Hill Country Ears Sound Company
(www.hillcountryears.com) in south Texas.
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