Lsi 2005

THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS MAY 2020 | PROSOUNDWEB.
COM
ANYTHING BUT MAKING A LARGE VIRTUAL CHOIR INTO A

REALITY
BORED
INSIDE
TIMES ARE TOUGH BUT SO ARE YOU: STAYING

SANE & HEALTHY DURING LOCKDOWN
Front of house engineer Jim Ebdon USING OUTBOARD GEAR & PLUGINS IN THE
finds his quarantine groove. MODERN MIX WORLD
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In This Issue MAY 2020 | VOL. 29, NO. 5
FEATURES 40
16 VIRTUAL BECOMES A REALITY Shadow Mountain
Church delivers its large choir remotely – and in real
time. BY MICHAEL FAY
22 ANYTHING BUT BORED Front of house engineer Jim
Ebdon finds his quarantine groove. BY GREG DETOGNE
42 STEADY PROGRESSION Recent applications of pro
audio technology. BY LIVE SOUND STAFF
DEPARTMENTS
10 GIG SCHOOL Times are tough but so are you – stay-
ing sane and healthy during lockdown. BY BECKY PELL
14 BUSINESS MATTERS Discipline: How we hate that
word (even though it’s the key). BY PETER JANIS
20 TALKIN’ YAK Creating “quick-access” EQ control with
VCAs. BY JIM YAKABUSKI 49
26 ROUNDTABLE Using outboard gear and plugins in
the modern mix world. BY LIVE SOUND STAFF
30 FRONT LINES A head start on some essentials for
less-experienced techs. BY BRIAN MADDOX
34 REALITY CHECK Some friendly advice for drummers
to help us all have a great-sounding show.
BY ALEŠ ŠTEFANČIČ
26
40 BACKSTAGE CLASS The “secret recipe” for mixing
large-scale, high-input count shows. BY ROBERT SCOVILL
47 IN FOCUS Two takes on SynAudCon 50-level and
200-level online courses. BY MICHAEL LAWRENCE &
HANNAH GOODINE
EQUIPMENT
38 ROAD TEST I Checking out new Electro-Voice MFX
loudspeakers and the Dynacord TGX20 working
together. BY MICHAEL LAWRENCE
44 ROAD TEST II Evaluating Martin Audio BlacklineX
active loudspeakers and companion subwoofer.
BY CRAIG LEERMAN
49 REAL WORLD GEAR A range of developments and
options with wireless microphone systems.
BY LIVE SOUND STAFF
55 LOADING DOCK A new subwoofer, console firmware,
content creation tools and more. 30
Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 5, is published monthly
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56 BACK PAGE
2 LIVE SOUND INTERNATIONAL MAY 2020 www.ProSoundWeb.com
From the Editor’s Desk
We’re certainly living in a unique MAY 2020 | VOL. 29, NO. 5
period of time, to put it mildly. It’s Live Sound International
my sincerest hope that you’re all doing 111 Speen Street, Suite 200, Framingham, MA 01701
as well as can be expected, and that the 800.375.8015 | www.livesoundint.com
ongoing situation is resolved much
sooner than later. PUBLISHER Kevin McPherson, [email protected]
This issue reflects the current real- EDITOR-IN-CHIEF Keith Clark, [email protected]
ity. Becky Pell offers a timely piece pro- SENIOR EDITOR M. Erik Matlock, [email protected]
viding a wide range of suggestions for SENIOR CONTRIBUTING EDITOR Craig Leerman
making the best of it as we go along, [email protected]
bringing a nice tone of optimism to TECHNICAL EDITOR Michael Lawrence
her discussion. [email protected]
Michael Fay steps up with a report on an approach that a large TECHNICAL CONSULTANT Pat Brown, [email protected]
CONTRIBUTING FEATURES EDITOR Phil Garfinkel
house of worship recently executed in employing existing tech-
[email protected]
nology to deliver an effective music ensemble for virtual Easter
PRODUCTION DESIGNER Samuel Clark, [email protected]
services. Michael offers a useful degree of detail on how it was CONTRIBUTORS: Brian Maddox | Becky Pell | Michael Fay |
all achieved – not just on the tools and their deployment, but Robert Scovill | Jim Yakabuski | Aleš Štefančič | Peter Janis |
also the people behind the achievement who made it happen. Hannah Goodine | Greg DeTogne
Also enjoy Greg DeTogne’s conversation with front of house
engineer Jim Ebdon about how he’s staying productive, along ProSoundWeb.com
with some insights on mixing, his strategies with a specific EDITOR-IN-CHIEF Keith Clark, [email protected]
console platform, thoughts on the future, and more. We also SENIOR EDITOR M. Erik Matlock, [email protected]
thank Jim for graciously providing the timely photo that graces PRODUCT SPECIALIST Craig Leerman,
the cover of this issue. [email protected]
WEBMASTER Ernie Black, [email protected]
Finally, please join me in extending a big “welcome aboard” to
Brian Maddox, a new contributor who steps up with two timely
ASSOCIATE PUBLISHER Jeffrey Turner
articles, both based on his decades of experience in the field. In [email protected] | 415.455.8301 | Fax: 801.640.1731
one, he offers numerous bits of practical advice for less-seasoned ASSOCIATE PUBLISHER ONLINE Mark Shemet
audio techs, while in the other, he shares a time-tested lesson [email protected] | 603.748.4067 | Fax: 603.532.5855
about never settling but rather always striving for constant PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
improvement in the craft of sound reinforcement. [email protected] | 508.663.1500 x226
And as always, there’s plenty more. Enjoy the issue.
Circulation and Customer Service inquiries should be made to:
Live Sound Customer Service
EH MEDIA, LLC
Phone: 978-671-0449
Fax: 978-671-0460
[email protected]
Keith Clark 111 Speen Street, Suite 200
Editor In Chief, Live Sound International/ProSoundWeb Framingham, MA 01701
[email protected]
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Advertising Rate Information | [email protected]
On The Cover: Front of house

REPRINTS: Wright’s Reprints
engineer Jim Ebdon in his home [email protected] | 877.652.5295
studio with a Solid Stage Logic
Live L350 he’s beem working with
in his downtime. Coverage begins
on page 22.
ProSoundWeb
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Resources THE LATEST NEWS FROM PROSOUNDWEB.COM
This section offers information about services, educational oppor-

tunities and more, both in light of the ongoing situation with
the COVID-19 pandemic as well as some (but certainly not all)
really positive things going on in the pro audio community at the
present time. All of these opportunities and further details can
be accessed via the ProSoundWeb home page – prosoundweb.
com – as well as via the specific URLs with many of the items.
Yorkville Sound is now dedicating its engineering and

manufacturing resources to help fight the COVID-19 pan-
demic, undertaking an open-source ventilator project
in conjunction with Starfish Medical with the goal of
increasing the availability of ventilators in Canada.
“Our design and manufacturing team is very excited to be
part of the solution during this unprecedented time.” says
Yorkville Sound president Steve Long. “We’re providing
circuit-board design and layout, as well as the assembly of Left to right: Tom Wood, Tony Chilco and Peter Till of Yorkville Sound
the control panel for the ventilator project. Our capable in the company’s manufacturing facility with one of the ventilators it’s
facility is quite nimble and we’re able to produce finished producing in collaboration with Starfish Medical.
New Support Group For Production Personnel

A historic 1860s building in downtown Niles, MI will soon be the home of The
Clinic: A Roadie Advocacy Group, founded by touring industry professionals
Paul and Courtney Klimson.
The Clinic is housed in a three-story, multi-faceted space, including five private
accommodation lofts, a professional mixing studio, commercial kitchen, conference
rooms, offices for in house staff and much more. The venue is set to open its doors in
the summer of 2021, offering essential resources on and offsite to touring personnel.
The Clinic will function as a 501(c)(3) non-profit agency, offering its facility
and services for little to no charge to touring professionals and their families. In
an industry with very little resources for roadies, it will offer therapy, education,
advocacy, financial guidance, recovery resources, marriage counseling, family
resources, suicide prevention tools, women-in-touring services, and temporary
housing when available.
To keep The Clinic full circle, the design, demolition and construction is partially Paul and Courtney Klimson in downtown
executed by touring professionals. “The building came alive when the first roadies Niles, MI in front of The Clinic.
arrived to execute demolition. I’m thrilled to continue utilizing crew members in
every facet of the industry to complete this project,” says Paul Klimson,
“Regardless of the challenges road crews face, the show must go on at all costs,
and over time, some find the transition to life off the road very difficult,” adds
Courtney Klimson, “At The Clinic, we will create and provide resources that will
aid in the transition from road life to home life, whether that be a place to stay
and decompress, or to utilize one of our varied services.”
The co-founders also note that numerous production industry leaders have been
very positive about the project in Niles and are in full support. Greg Beebe, chair
of PAMA and director of professional audio at Sennheiser, states, “It appears to
be an incredible cause and considering our current reality, I believe their need is
greater now than ever before.” Find out more at theroadieclinic.com, and also
be sure to check out Episode 45 of the Signal To Noise podcast on PSW featuring Roadies donating their efforts to making
Paul and Courtney. LSI The Clinic come to life.

results quickly and with accuracy. We’re dedicated
to help flatten the curve and provide much needed
equipment for our country’s healthcare professionals.”
John Walmsley, EVP of Strategic Relationships
at Starfish Medical adds, “What better contributor
to a Canadian emergency ventilator program than
Yorkville Sound, whose manufacturing and production
ingenuity established them at the top of the music
and professional sound industry. Like other industrial
contributors, Yorkville stepped in and got us the parts
we needed fast.”
Yorkville Sound’s collaboration with Starfish Med-
ical is an answer to the government of Canada’s call
to action to Canadian businesses and manufactur-
ers to help deliver critical health supplies in light of
the pandemic. This particular project inspired by The
Winnipeg Ventilator that’s designed for ICU use and among resources for learning more about audio, mix practicing and
the easiest in the world to bring into high-volume production. improvement, discovering new consoles, ear training and more.
More information on this ventilator design can be found at “I’m presenting these activities not only to give us something to
thewinnipegventilator.com. do but also to develop and hone key skills so that we can stay sharp
and thus more easily return to work – whenever that time comes,”
Noted touring industry veteran and LSI/PSW author Andy he explains. “Bearing in mind that many of us are feeling the finan-
Coules has created “Lockdown Lessons: A Guide For Sound cial pinch of these unusual times, everything I list here is available
Engineers & Techs” on ProSoundWeb, and it’s chock full of absolutely free of charge.” Go to prosoundweb.com for more.
www.ProSoundWeb.com MAY 2020 LIVE SOUND INTERNATIONAL 7

Resources THE LATEST NEWS FROM PROSOUNDWEB.COM
Practical Show Tech is making use of social distancing time

by sharing knowledge of live show production through a series
of free live webcasts that are happening on a daily basis. At this
point, more than 50 recorded webinars are available in the archive
with more being added every weekday. Located at practical-
showtechcom.squarespace.com, it’s founded and managed
by veteran audio/RF/production professionals Pete Erskine,
Mac Kerr, Kelly Epperson and Bruce Kraemer.
Music, Pro Audio & AV Industry Relief Resources is a public

Facebook group dedicated to networking between industry
professionals whose livelihoods have been impacted by the
widespread cancellations of tours, productions, and the resulting
layoffs throughout the professional audio and video commu- Don’t forget: SynAudCon offers a range of exceptional online
nity. From job postings and barter offerings to aid resources, training ranging from beginner to advanced levels, all available
humanitarian assistance, and helpful tips, the group is a place at prosoundtraining.com. Access it directly at prosoundtrain-
for pooling resources and helping each other. ing.com. And Audinate Dante certification training – all three
“Our industry is truly the original gig economy, and a great levels – is online and free of charge (audinate.com).
many of us who live tour to tour and paycheck to paycheck have
been hit hard by the shutdown, right at the beginning of peak
touring season,” explains David Rahn, North American sales
manager for Alcons Audio and a co-founder of the group. “It’s
more important now than ever before for us to pull together
and help each other. Whether it’s a temporary job or a heads-up
about financial assistance, sharing our connections and our
collective knowledge can only be a good thing.”
Some may already be aware, but Live Nation has created Crew
Nation in financial support of production personnel impacted
by the pandemic. Crew Nation is powered by Music Forward
Foundation, a charitable 501c3 organization, that will be admin-
istering the fund.
Live Nation has committed $10 million to Crew Nation – While the InfoComm 2020 show slated for this June in Las Vegas
contributing an initial $5 million to the fund then matching has been canceled, in its place, AVIXA will host its first virtual
the next $5 million given by artists, fans and employees dollar event, InfoComm 2020 Connected, this coming June 16-18
for dollar. Live entertainment touring and venue crew members to provide a platform for participants to learn about products,
who make 50 percent or more of their income from this field are training and educational sessions as well as the opportunity to
qualified to apply. Crew members are all the front of house and network with others in the AV industry from around the globe.
backstage staff that help bring concerts to life. To find out more More details will be revealed about InfoComm 2020 Connected
and to apply for assistance, go to livenationentertainment. in the coming weeks. Get the latest at infocommshow.org.
com/crewnation. The folks at AVIXA also continue to produce a weekly survey
to access the impact of COVID-19 on the pro AV industry. A
new survey and other information are published every Friday,
available on ProSoundWeb. LSI
ProSoundWeb provides all of the latest pro audio news,

and follow PSW on Facebook and Twitter – just go to
prosoundweb.com and click on the icons at the top of the page.

75 Years of Sennheiser.
We look back on a rich history of seven and
a half decades of innovation, expertise and
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Discover all stories, magic moments

and special offers.
www.sennheiser.com/75years
Gig School
TIMES ARE TOUGH

But so are you —
staying sane and
healthy during
lockdown.
by Becky Pell
C
u r re n t w o r l d e v e n t s h av e
impacted ever yone in some
way, whether that’s health-wise,
financially or dealing with a way of liv-
ing that we’ve never encountered before.
The music and live event industries were
hit early and hard, with large gatherings
being one of the first things to be culled
from public life. For most people that was
no more than a disappointment, but for
our tribe it’s had a major impact, with
tours and gigs cancelled indefinitely and removing our source Think in terms of set periods of time. “Indefinitely” is a really
of income. scary timespan. None of us know when gigs will resume, but it
The wider risk is not only to our physical health from the can be helpful to mentally block time into 12-week chunks and
virus, but also to our economic stability and our mental health then reassess. It’s a great way to get focused on accomplishing
as we wrestle with loneliness, boredom, and loss of identity. something – you can change a lot in 12 weeks.
Here are some proactive ideas for taking good care of yourself
during this time. Let’s help each other to stay mentally buoyant, Get a structure. You may welcome the time to let days unfold
physically healthy, and come out of this feeling well-rested and freely, but our familiar touring days are very structured. If
richer in experience. you’re struggling with mental well-being right now, introduc-
ing a regular daily schedule might help in feeling more stable.
Make a budget. It’s tempting to bury our heads in the sand,
but now is not the time to leave bills unopened or ignore our Get a project. Throughout the whole of human history, we’ve
bank balance – instead, take an honest look at our finances and created and innovated and made things – it’s what we do.
figure out a plan. What are the minimum weekly outgoings and Humans need a purpose in order to feel content, and having a
where do things need to be cut back? Seek other work to add project (learning an instrument, building a piece of furniture,
income? Is there any help available? How long can our savings writing your memoir – there are infinite possibilities) can help
last? It’s uncomfortable, but knowledge is power, and being sure keep our head in a good place. This is the perfect time to try
of where you stand puts you back in the driving seat. something different – the internet has tutorials on just about
every new skill imaginable!
Acknowledge that this is hard. Our roadie family is used
to doing it tough and getting on with it – that works great for Refresh old skills. Many manufacturers in our world of pro-
making the show go on, and there’s a lot the rest of the world duction are offering free online training and seminars, so it’s a
could learn from the touring attitude! But it’s really common great use of time to enhance our expertise for free and increase
to look back on difficult periods of life and think “I don’t know our value when we get back on the road.
how I got through that,” and it can be helpful when we’re in
the thick of it to step back and say “You know what, this is a Get active. Different countries have different restrictions
really rough time – I’ll get through it, but right now I’m finding about going outside for exercise, but if it’s permitted and you
it hard, and that’s OK.” can stay clear of others, a daily walk in the open air is a prime

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GIG SCHOOL
mood booster. There are masses of free workouts and classes

on YouTube that need no equipment, and most trainers are
doing inexpensive Zoom sessions that are a fantastic way to
be held accountable if a little motivation is called for. If your
health could use a boost, imagine what a change can be made in
12 weeks. Plus, exercise is an instant and accessible way to get
the happy chemicals like endorphins, dopamine, and serotonin
moving – it’s just as beneficial for our brains as for our bodies.
Eat well. If you’re bored and eating badly, it’s a perfect chance
to fill some time by learning to cook from scratch and really
nourish yourself. The vast majority of feel-good chemical
serotonin is produced not in our brain but in our gut, so sup-
porting its production by eating fresh, unprocessed food can
make a dramatic difference to mental wellbeing. While the plans we make are
Go easy on the alcohol. It’s extremely tempting to hit the necessary to keep the wheels
bottle to alleviate the anxiety and boredom, but we all know of normal life turning, they’re
it’s a slippery slope. Sure, there might be temporary relief,
but alcohol is a depressive and the cumulative effects can complete fiction until they happen.
leave us feeling worse if it’s too frequent. Try to limit the
amount consumed and set aside a few evenings a week that is a tiny bit like hanging out on the tour bus after the show and
are alcohol free. Drinking really can be “happiness borrowed can help you feel more connected. Messaging people each day
from tomorrow,” and you’ll thank yourself in the long run. who you haven’t seen in a while is a nice way to stay in touch
too. Talk to a friend if you’re struggling and make yourself
Keep your environment pleasant. Little things like making available to others for a chat if you have the capacity. Extroverts
the bed as soon as you get up, keeping the place clean and tidy, and introverts are handling the isolation differently, but we’re
maybe doing some overdue DIY jobs is way better for our mental all in this together and we need to support one another on bad
state than letting the home environment slide. To steal an old days as well as good.
advertising slogan, it says to your subconscious “I’m worth it.”
And you are. Remember that uncertainty is the birthplace of possibil-
ity. It’s incredibly unsettling to have the rug pulled from beneath
Get some real rest. We work hard when we’re on the road, so our feet and suddenly be faced with an empty diary. To be philo-
use this time to really recharge our batteries. Try to stick to a sophical about it, while the plans we make are necessary to keep
regular sleep pattern and consider listening to a guided relax- the wheels of normal life turning, they’re complete fiction until
ation (there are thousands of free ones on YouTube and also they happen, as this whole situation has demonstrated. None of
on my website, rocknrollyogi.com) that can help in dropping us know what’s going to happen, but we never really did anyway.
some tension. What we do have control over right now is our time and our atti-
tude – be the master of both and uncertainty turns into possibility.
Foster an animal. A lot of touring personnel can’t have an
animal at home because we’re away so much, but foster care is Finally, focus on how things will be when our road-life
the perfect way to share our life with a furry buddy without the comes back. It may take a while, but the public is going to
long-term commitment. Most shelters pay for any veterinarian be so hungry for live entertainment – and artists so eager to
bills, and often food and bedding too, so it doesn’t have to cost perform – that we’ll all have more work than we know what to
much of anything. We get to do a little piece of good in the do with. One day in the near future we’ll all be back together
world and there’s nothing like a cat or dog in the house to lift – and the year when touring stopped will seem like a very long
our spirits for animal lovers. time ago. LSI
Use tech with discernment. The internet is a huge bonus Becky Pell is a monitor engineer with more than two decades
and used well it brings the world to us when we can’t go to the working with live sound. She toured as a monitor and RF tech with
world. Most of us are spending more time on social media than Black Crowes, Travis and Kylie Minogue before moving behind
usual, so be aware of how it’s making you feel, and remember the desk to mix monitors for artists such as Aha, Muse, Westlife,
that you can unfollow without unfriending on Facebook if there Anastacia and Take That. Read more from Becky at SoundGirls.org
are people in your feed who bring you down. A well-curated feed and on ProSoundWeb.

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Business Matters
DISCIPLINE
forecasts and the financial budget for the
coming year. It requires a tremendous
amount of tedium to get it “close,” and at
the end of the day, it’s assured that you
How we hate get out?” DeNiro replies, “Yes. This is the
game. To win requires discipline.”
will never get it 100 percent right. But
that’s not the point.
that word (even No matter what your business, you need
discipline. I’ve not always been as good at
The point is goal setting. Without a
target, how can you even come close to
though it’s the this as I should have been. For instance, I
could have made more money if I dropped
hitting it? With sales forecasts, you can
then predict production requirements,
key). products that had low sales and focused
more on the 20 percent that make up 80
part orders, costs of goods, expenses,
and ultimately, corporate profitability. It
by Peter Janis percent of the revenues. My “method to also gives the sales team a sense of their
the madness” had to do with being the anticipated commissions, which of course
world’s leading source of “all things con- drives their egos and fills their pocket-
L
ast night while sequestered in nect.” I felt that it was worth the price to books. It’s also important to provide the
my home, I was watching “Heat,” offer selection in exchange for bragging tools to get the job done such as investing
an old movie starring Al Pacino rights; however, the “pencil pushers” con- in R&D, advertising, marketing, support
and Robert DeNiro. During a scene in stantly reminded me of my folly. staff and so on. The most important thing
a restaurant, the two are talking and I learned over the years was to make the
the good cop (Pacino) asks the bad guy SETTING GOALS budget realistic, yet aggressive.
(DeNiro): “So, during a heist, if the heat One of the most difficult tasks in the Once a sale has been made, another
becomes too intense, are you prepared to world of business that requires a serious level of discipline comes into play: You
give up your relationships, everything, to amount of discipline is preparing sales have to get paid. This means establishing

guidelines with the accounting depart- CONTROLLING COSTS Multiply this by 10 staff members and 7
ment. I recall the order desk getting calls It also takes discipline to keep costs under days, and you’ve just spent $7,000! Going
from clients saying that they didn’t have control. For instance, we never purchased to the store to shop takes time, but it’s
to fill out a credit application – “Peter new office furniture. Everything was high not difficult to see how a ton of money
knows me!” quality yet used. No one cares if you have can be saved by taking this approach.
But I never swayed in this policy. To a fancy gold leaf boardroom table. In fact, The other upside is that it nurtures
open an account, we did thorough credit bankers and other financers are trained to a tremendous amount of comradery by
checks and then limited the available look past all of this. The only thing they residing in close quarters. It’s not always
dollars, only releasing so much product care about is your bottom line. easy – you have to cook and clean up, and
at a time. Big accounts will sometimes for some this is a real chore.
drag you out because they understand In this day of In this day of uncertainty, there’s
the value of using your cash instead of never been a greater need to be disci-
their bank’s credit. uncertainty, plined. Cost cutting to stay in business
We also had a rule whereby after 45
days, we would stop shipping products. there’s never been is mandatory.
However, if you’re smart, you can take
Forget about the promises – the shipments
were made in good faith so we should be
a greater need to advantage. For instance, you can be cer-
tain that many of your competitors will
respected and treated the same by receiv- be disciplined be culling expenses. During the financial
ing payment. The only card in our hand meltdown several years ago, everyone
was the demand for the products. The same applies to trade shows. Having stopped advertising. I did the opposite.
Years ago, I recall one of our salespeo- a fancy booth can be impressive, but at the By spending and paying my bills, I was
ple going to visit our biggest customer, end of the day, what really matters is set- able to negotiate extra ad space without
with the sales manager waiting outside ting appointments with clients, showing the extra cost. This elevated the compa-
in the car. The sales call included meet- them the new products and then generat- ny’s profile, and once the dust settled,
ing up with the buyers and collecting an ing orders. Over years of exhibiting at the we enjoyed a huge jump in the market.
overdue payment from the accounting NAMM Show, we went from hotel rooms All it takes is discipline. LSI
department. to renting a large house for our team. The
The salesperson went in, did his pitch, house wasn’t fancy but it was close to the Peter Janis is the former CEO of Radial
but returned to the car without a pay- convention center and its far lower cost Engineering, Primacoustic, Hafler and
ment. It was late Friday and the salesper- enabled us to save a pile of money. Tonebone. He now runs exit-plan.ca where
son was distraught because he had a flight Breakfast in a hotel can easily cost $25 he assists business owners with their
to catch, but after about 30 minutes, he and dinner in a restaurant can be $75 strategic planning, growth and eventual
finally came out with a check in hand. per person when you figure in alcohol. retirement.
$100
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Project Memo
VIRTUAL BECOMES A REALITY

Shadow
Mountain
Church delivers
its large choir
remotely — and
in real time.
by Michael Fay
I
n over 40 years as an audio pro-
fessional, I’ve never seen any- SMCC’s regular choir and worship team that performs during most services.
thing quite like the sea change
in technical creativity and resourcefulness that’s emerged INITIAL CHALLENGES
from the social distancing measures imposed on most of us The virtual choir had 94 initial participants, and here’s the
in early 2020. remarkable part: All choir members recorded their own cell
This article chronicles one such leap made while many busi- phone video at home, which was then uploaded to the technical
nesses, schools, and houses of worship have been closed or team via one of the cloud storage sites they suggested.
seriously hampered by the inability to assemble. Fortunately, Simply sending in the videos was a significant challenge,
some churches can offer live streaming of their worship services. because many of the members were unfamiliar with how to
Shadow Mountain Community Church (SMCC) in El Cajon, CA upload a large file to a cloud-based account.
is a good example. Basic upload instructions were provided, but from the per-
SMCC easily classifies as a megachurch, with an average spective of someone who already has a cloud storage or FTP
weekly attendance of roughly 7,500. Most weeks, the church account rather than from the perspective of someone who’s
offers a blended worship experience that includes a 120-voice never done this before. Regardless of other talents, not everyone
choir, 30-piece orchestra, eight-person rhythm section, and six has fluent computer and IT skills. Numerous choir members
to eight front line singers. needed assistance to successfully deliver their clips.
For SMCC, the challenge became how to retain and present An even bigger challenge was self-consciousness. Many in
as much of its regular worship experience as possible while the choir just couldn’t believe how poorly their voices were
complying with the necessary social distancing guidelines. coming across as a raw, fully exposed vocal track. This theme
On Easter Sunday this past April, the choir, worship team, harbored much frustration.
and technical crew – led by Tobin Davis (music minister), Jeff describes it this way: “For most of my life I’ve been
Michael Sanchez (music director), Byron Mathe (production involved with live and recorded music as both a singer and
director and front of house engineer), and Troy Dausend musician. This assignment was way harder to do than I expected.
(television production director) – did something remarkable: All of my many practice efforts sounded bad. The main problems
They presented Andrew Peterson’s “Is He Worthy” featuring were pitch, slurred words, and that I was singing alone. I couldn’t
a 90-voice virtual choir. judge how to blend without hearing others around me. It was
Viewing that service, I was so moved by what I saw that morn- really tough to do. I’m used to singing with instruments and
ing I couldn’t help but wonder how they pulled it off. I knew I other voices, which help hide my flaws. This was a stark-naked
had to find out and share this with others. My first call was to track of my less-than-perfect voice.”
Byron, who filled me in on all the technical details. Shortly after, Of course, this brings us to a common theme with choirs in gen-
I called my good friend Jeff Schmitz, director of engineering eral: With less than about 10 or 15 voices, everyone needs to be a
at Sound Image (Escondido, CA) who’s also a member of the respectable singer (at least) for the group to sound good. With a mass
SMCC choir. I wanted to learn more about what this was like choir, most minor flaws are homogenized into a recipe of beautiful
from the choir’s perspective. music, providing everyone’s singing the same words at the same time.

ots 12x N
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Pile ls
PROJECT MEMO
The Easter service live worship team and virtual choir.
RECORDING INSTRUCTIONS Lining up the tracks was a little harder than expected because
Each choir member received an email with a link to an attach- there were no film clapper boards or other “start” markers at
ment and the following recording instructions. The attachment the beginning of each track. Just dead air before the first words
contained a reference video of Tobin conducting, Michael playing were sung. As Byron notes, “If we ever do this again, we’ll have
piano and singing a scratch track, and a click track. them give us a hand clap or two up front, at the beginning of a
1. Play the reference video on a desktop, laptop or tablet specific measure, so we can more easily align the clips.”
computer and listen using earbuds or headphones. The choir doesn’t enter until the fifth measure of the song.
2. Use a cell phone, placed in portrait orientation, and record Also, the first word sung is a mezzo-forte “we” and there’s lit-
a reasonably tight headshot while singing your part. Use a erally no transient or plosive attack on the letter W.
white background if possible. Once the starting point of each track was locked in, the next
3. Rehearse and record as many clips as needed until you get step was to normalize the levels on all 90 tracks. No active
something you think is worthy of submittal. mixing was done, nor dynamics processing or EQ added. For
4. No special microphones needed. Just use whatever is this project, normalizing just meant the tracks were all adjusted
built into your phone. to be of similar level relative to what was needed for the vocal
5. Once your track is ready to send, upload via Dropbox, blend within each voice-range classification, i.e., soprano, alto,
Vimeo, YouTube, File Dropper, or any other method neces- tenor, baritone, and bass. I asked Byron about what went better
sary to handle large files. than expected, and he replied, “When blended together, the
poor cell phone audio actually sounded better than I would
PRE-PRODUCTION have thought.”
The tech team accepted whatever file format was sent, and the After all the audio tracks were ready, the final mix-down was
whole collection was compiled as a production collection in a done as a stereo submix. A touch of reverb was added to the
Dropbox account. The pre-production staff, led by video editor 2-mix bus to further blend the ensemble and to approximate
Justin Kintzel, then began the tedious process of compiling the ambience of the live tracks.
all the tracks. While there were 94 submittals, only the best Five more audio tracks were also synced up. The third channel
90 could be used. Once all the choir clips were reviewed they was the click track. The fourth and fifth channels were a submix
were loaded into Apple Final Cut Pro and Logic Pro for syncing of a previous live performance of the same song, which Byron
and mixing. says, “needed a lot of cleaning.”

Bringing in the existing track was only possible because the The three center screens are 16:9 format, meaning the total
rhythm section almost always works with a click track. By match- horizontal pixel count for all three can easily be 5,760 (1,920
ing the click from the previous recording and using it for the live x 3). And, because the DeckLink card supports such extreme
event, all the critical tempo and timing issues were easily accom- ratios, 1,920 pixels can be allocated to each of the three output
plished. Michael and the rest of the band are very comfortable channels and show a composite, full-motion graphic with a
performing with a click track in their in-ear monitors, so this 5.33:1 aspect ratio.
was no different than their usual setup. The seven audio channels were fed from a Dante Virtual
The last stereo pair to be synced was a re-mix of the orchestra Soundcard in the production computer to a Dante card in the
recording from the previous performance. Byron explains that Soundcraft Vi7000 FOH console.
he used very little of this sub-mix because this year’s Easter Prior to the audio channels coming into the console, all
service didn’t include the orchestra, so hearing much of it would timing and latency issues had been resolved. It was then a
be out of context with the livestream visuals. matter of blending the live band mix with the pre-recorded
The final video mix consisted of five discrete output buses sub-mixes while feeding the click track to the IEM monitors
mapped across five large screens. This is the template SMCC on stage.
regularly uses. Two large direct view LED screens are positioned
on the far left and right sides of the stage. These are typically FINAL THOUGHTS
used for image magnification (IMAG). SMCC Pastor David Jeremiah’s post-Easter newsletter included
Three smaller projection screens are located above and behind these statistical responses: 45,200 viewing sites logged into
the choir. Their system is configured so each projector has a the Easter service via its various streaming platforms. Further,
dedicated HD-SDI input, and discretely serves one of the three social media engineers tell us that on average each viewing site
screens. They don’t use edge blending because the center screen represents 2.3 viewers. That brings the likely number of viewers
moves in and out when needed. to slightly more than 100,000 worldwide. This is a huge num-
As you can see from the photos (and a video clip of the service ber for any church; showing that even under the most difficult
available on Vimeo at https://tinyurl.com/y9dzsy9z), three conditions, the human spirit will prevail.
screens were used for lyrics and two for the choir’s video box Stay strong, kind, considerate, creative and faithful. LSI
display. By cropping and pixel mapping each choir member’s
file, they were able to show their faces in two 45-box images, Michael Fay is owner/principal at GraceNote Design Studio, an
which neatly filled the mid-left and mid-right screens. audio, video and acoustic design consultancy; a sustaining member
of SynAudCon; a member of AVIXA and the Acoustical Society of
LIVE PERFORMANCE America; former Integration Division general manager and senior
The three SMCC Easter service broadcasts were only available design consultant with Sound Image; and former editor of Recording
via live internet stream. Further, the onstage worship team Engineer/Producer magazine.
was limited, for most songs,
to just a four-person rhythm
section and a six-person front-
line vocal team.
For the Is He Worthy per-
formance, the choir video and
lyrics were handled by a FOH
computer running Pro Pre-
senter 7, with a Black Magic
Design DeckLink 8k Pro card.
The DeckLink card supports
four simultaneous 12G SDI
output feeds. T hose four
feeds were routed to the mas-
ter video switcher, which also
handles all their manned and
robotic camera inputs.
Two switcher outputs were
routed to the projectors showing
the choir’s headshots. The lyric
feeds were bused to the IMAG
and center projection screens. Michael Sanchez with B3, guitar, drums and virtual choir.

Talkin’ Yak
VCA TONE KNOB

Creating “quick-
access” EQ
control with
VCAs.
by Jim Yakabuski
M
any years ago, when concert
loudspeaker systems were huge,
consoles were analog, and I fit
into size 30 jeans, I was granted the honor
of mixing one of history’s greatest rock
bands, Van Halen. I lead with this not
entirely as an opportunity to point out
my good fortune, but to share a technique
I developed way back then for quickly
adjusting the overall tone of Eddie’s gui- lac, yet not a ton of inputs coming from assigned to a single VCA labeled GUI-
tar in the PA as his sound changed within the stage, so available channels and VCAs TAR LOW and the three “High” channels
his guitar amps and processing on stage. were not a problem. Eddie’s guitar rig assigned to a second VCA labeled GUITAR
It’s safe to say that whatever abnormal- consisted simply of amazing amplifiers HIGH. If all the knobs were set just right,
ities exist in sounds that are created on and processing gear terminating at three the guitar sound with both VCA faders at
stage – whether a floor tom with a hanging speaker cabinets – a “dry” center cabinet, 0 dB and all channel EQs engaged would
low note, a cymbal with a world of 6kHz, and on either side, left and right “FX” be identical to all EQs in bypass mode.
a vocal with high-mid bite or a guitar rig cabs. Each had one microphone on one of With this setup in place, all I had to do
that runs the gamut from muddy to shrill the 4 x 12-inch speakers in the cabinet. was make a slight VCA move up or down
– they are all the more abnormal (and loud) I decided to “Y” the three inputs into to control the changing tone of the gui-
when heard through a couple hundred six channels. (We couldn’t just double-as- tar rig. It worked really well. If the song
loudspeakers. The frequency range of most sign inputs back then, so a well-soldered started with a big chunky guitar intro,
systems these days is 20 Hz to 20 kHz, and “Y” cable was the hardware of choice.) I and the low-end in the PA was a little
when cranked up in a big boomy arena, it labeled these six inputs something like overwhelming, I’d make a slight move
can be tough to keep in check. this: Left-Low, Left-High/Center-Low, down with the “Low” VCA while sliding
Eddie’s sound is huge and legendary, Center-High/Right-Low, Right-High. As the “High” VCA up a bit.
and can span the aforementioned fre- the names suggest, each input was EQ’d
quency range all in the course of a single in a slightly different way. I’ve used this same
song. When I found myself frequently The “Low” channels had a small, low/
chasing my tail during tour rehearsals low-mid boost (around 250 Hz) and a technique ever since
in an attempt to balance highs and lows small high-mid/high end cut (around 2.5 that mid-1990s tour
between verses and choruses, I devised kHz). Conversely, the “High” channels
a plan to give me quick access to a vir- had the exact opposite EQ; a low-mid cut with other inputs as
tual “tone knob” at the one location my
hands spend most of their time during
with a hi-mid boost. All boosts and cuts
were in the neighborhood of 2 dB, and
well.
the show: the VCAs. fairly wide… around an octave. I made During guitar solos, when Eddie would
certain the boost and cut parameters be blazing away high up on the neck of
SETTING THE INPUTS (Gain/Freq/Q) were as matched as I could the guitar and things started to get a
The setup was quite simple. I had a big ol’ make them on an analog console. bit shrill, an opposite fader move would
Cadac analog console the size of a Cadil- The three “Low” channels were all smooth it all out very nicely. This setup

was a heck of a lot quicker than reaching or “Y-d” input, and it’s fantastic on bass onboard imagination can be just as effective.
for three or more channel EQ knobs at guitar as well. Way back in the 90s when our choices
the same time, and then quickly moving I recently deployed it on lead vocal, but were limited to the amount of outboard
them back. primarily to control the vastly different gear we could throw on the truck, choice
tone of the vocalist when singing (a long number two was our only option. Decades
SEAMLESS TONE way away from the mic) versus speaking later I’m still using the same tricks I
I’ll reiterate the importance of using oppos- to the audience between songs when he learned when I had hair on my head, and
ing and subtle EQ settings for the “Low” would be right on the capsule. The sing- they still work great.
and “High” channels. EQ boosts and cuts ing tonality could get a little thin, so I With Eddie’s guitar tone all sorted out
always introduce a degree of phase shift, would add a good amount of low-mid in the PA, it was time to move on to that
so I recommend subtle, wide adjustments. while cutting some high-mid on his main darned kick drum… Alex, give me a call.
And as mentioned, if you get it just right, vocal channel. This was exactly oppo- I’ve got some ideas. LSI
the tone should be seamless with the EQs site to what I needed during the breaks
IN or OUT if the two VCA faders are at the between songs, so I’d reverse that EQ on Jim Yakabuski has spent more than 35 years
same level. I checked this on a daily basis. the second vocal channel. as a live sound engineer, working with artists
For the most part, the channel EQ on such Van Halen, Journey, Avril Lavigne, Peter
the guitar inputs never had to change if BACK TO THE FUTURE Frampton, and many others. He’s also the
the PA was tuned the same each day. The There are many great tools at our disposal author of “Professional Sound Reinforcement
only adjustments needed to vary overall these days, including hardware processing Techniques,” which provides a collection of tips
tone were done with the VCAs. I’ve used gear and software plug-in versions of the and techniques for mix engineers. It’s available
this same technique ever since that mid- same legendary equipment. Tonality and via Amazon. Reach Jim at
1990s tour with other inputs as well. It level control of troublesome inputs can cer- [email protected].
works great with two kick drum channels tainly be managed with these amazing tools, Also be sure to check out
derived from a single “double-patched” but sometimes a little creative routing and Jim’s new YouTube videos.

Spotlight
ANYTHING BUT BORED

FOH engineer
Jim Ebdon finds
his quarantine
groove.
by Gregory A. DeTogne
I
n other times, the idea of “flat-
tening the curve” normally would
have Jim Ebdon instinctively
reaching for his EQ settings out on tour
with any one of a number of A-list artists
he’s known to work for. But the ongoing
pandemic has given that concept an entirely
new meaning, leaving the veteran audio
engineer hunkered down in his home studio Unmasked and comfortable in his home studio in Los Angeles while waiting out the
in Los Angeles and keeping his distance pandemic, Jim Ebdon is keeping busy from behind an SSL L350 until he can take his turn
from anything social just like the rest of us. in the touring spotlight again.
Part of the British professional audio
diaspora that migrated to the U.S. and now calls the City of Angels GD: You were touring with Michael McDonald? That had to be
home, Ebdon has amassed quite a resume over the past 30 years. memorable, especially given the timing right now just before his
Currently waiting for official word on when he will resume his induction into the Rock and Roll Hall of Fame with the Doobie
post at front of house with English singer/songwriter Sam Smith, Brothers, who he’ll hopefully be touring with soon to mark the
he’s had stints as “the person behind the faders” for Maroon 5, band’s 50th anniversary.
Annie Lennox, Matchbox Twenty, Aerosmith, Sting, Prince, Bette
Midler, Niall Horan, David Lee Roth, and many others. JE: He’s a fantastic artist, and his band is amazing. I was sent out
Just before California and other states issued stay-at-home to take over the Spice Girls tour in the UK, and then literally the
orders, Ebdon ventured to Solid State Logic’s Los Angeles offices next day after I completed that gig I went out with Mike. We did
on Wilshire Boulevard and was lucky enough to drive away with a lot of smaller theatres and clubs all around the country. I had
a loaner L350 console, which he’s currently running a gamut of a DiGiCo SD9 that had been rented for the tour, and there were
tests and trials on in preparation for the day when life gets back no plugins, no outboard gear, nothing. All I was using were the
to normal. I caught up with him via phone recently to find out onboard gates, compressors, and EQ, and it sounded phenomenal.
where he thinks we may all be going, what one can do in the mean- People kept coming up to me and asking, “What plugins are
time, and if one can really can mix a show with no plugins in this you using with his voice? It sounds amazing.” I’d answer, “None,
digital world and still get compliments from those in the crowd. just some EQ and a little console compression.”
They’d have none of it, replying “How can you mix a show
Greg DeTogne: This has to be a strange sensation for a touring with no plugins?” To which I’d say, “You just heard it mate, and
engineer like yourself. What’s it like being home for so long? said it was amazing. I just mixed the show with no plugins, so
it can be done.”
Jim Ebdon: Well, I’m keeping busy. I mixed a song for Michael
McDonald recently here in my home studio that has gotten a GD: What board did you mix McDonald’s live version of “What’s
lot of attention online. It’s a re-recording of the Marvin Gaye Going On” with in your studio?
hit from 1970, “What’s Going On.” I toured with Michael last
summer for a few weeks and multitracked a couple of shows. JE: I mixed it on an SSL XL-Desk, which is their smallest analog
This new version of “What’s Going On” is from those recordings. console. It’s a useful little desk, completely analog. My origins

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SPOTLIGHT
lie in the studio. At 17, I set out to be a drummer but wound

up landing a job as an intern at one of the top studios in the
UK. I learned from some of the most talented engineers and
producers in the business. Eventually the studio I was working
in was sold off and I wound up mixing a couple of live shows
for a band I was recording an album with, and the rest, as they
say, is history. In the case of “What’s Going On” it was nice to
come back to something completely analog like the XL-Desk.
There is no digital memory in there whatsoever.
GD: You’ve been seen and heard with SSL Live consoles fre-
quently as of late, and have been famously quoted – by myself
included – describing them as “an analog console with a save
button.” Now that you’ve been in lockdown with and giving When Ebdon hits the road again, he will go out with an addition-
a lot of attention to an L350, what are your expectations for al 12 faders added to the two sets of fader tiles on the SSL L350
he plans to use. Outboard gear seen in the background above
the board?
beyond the console in his home studio includes a pair of Bricasti
M7 Stereo Reverb Processors, an SSL Fusion Stereo Analogue Co-
JE: Some say these Live consoles from SSL are a little hard to lour Master Processor, and Radial Engineering Workhorse rack.
get your head around. I agree there’s a bit of a learning curve you
have to go through, but once you figure them out they become
second nature. Very simple and rock solid. With the L350 I
just love being able to have an output bus upon an output bus
going to another output bus and not experiencing any latency
whatsoever. There are few consoles that can do that.
I’ve been experimenting right now because I can. Currently
I’ve gone up to using six drum buses on a single track. I’m using
different parallel compression and it sounds fabulous. Person-
ally, I think having six drum buses is overkill; certainly I don’t
absolutely need six drum buses. Normally I’ve been using three
for the last couple years and that works fine. It’s just interesting
to see what happens if you have six. The power at your fingertips
is formidable with these desks; you can do an awful lot. Ebdon describes the SSL L350 Channel Control Tile as “a second
place where I can access anything from any channel.”
GD: What’s your workflow like with the L350?
JE: Really fast. There’s a second, smaller screen just to the right
of the main screen called the Channel Control Tile. The simplest
way to describe this screen is as an expanded set of hardware and
touch screen controls for selected channels. It’s surrounded by
rotary controls and buttons below for EQ, dynamics, panning,
and insert effects. I use it as a second place beyond the main
screen where I can access anything from any channel.
There are a lot of ways to set up this console. I tend to use the
big screen for my EQ because it’s really fast there.
GD: With an SSL Live console you can use what they call Stem
Groups to build the signal path. A Stem Group essentially com-
The SSL L350’s main 19-inch touch screen is where Ebdon tends
bines the functions of a traditional subgroup with an input, aux, to do most of his EQ.
and matrix into a hybrid mix bus. What do you do with Stem
Groups in terms of routing? master bus. Now I’m typically using four stems for drums. One
for shells, another for overhead cymbals, a parallel compression
JE: To be honest with you, I never really mixed in groups a lot group of the shells, and then everything goes into a fourth stem
until recently. Everything went to the stereo bus and I mixed that I can then adjust with global EQ and a global compressor
with VCAs, with maybe a couple of groups going out of the across the whole kit.

For the instruments I create a bass stem, guitar stems, and
keyboard stems. I have stems for lead and backing vocals, and
more often than not an effects stem for the lead vocal. Any Pro
Tools playback I might have will also be routed to an appropri-
ate stem. For example, guitar playback to a guitar stem, any
percussion playback to a drum stem, and so forth.
This all works well. I really got into it when I was first work-
ing with Sam Smith. We were doing a lot of promo and people
would want to record it. We had painstakingly done a lot of
rehearsals and fine-tuned everything, so we started giving out
our stem outputs and telling everyone to just put their faders in
a row and they’d have a pretty good mix with all of our effects,
everything. A lot of mobile trucks would take up to 12 stereo
pairs, add some audience mics and be totally happy with what
they were getting.
Ebdon is using SSL’s Stem Groups in new, creative ways to pro-
GD: How do you lay out your fader tiles? vide his mixes with more flexible routing options. “It’s very easy
to route them,” he says, “and just as easy to put inserts on any of
JE: When I go back out on the road with Sam I’ll have three them.”
fader tiles. On my left – probably on the first two layers – will
be drums. On my right I’ll have all vocals and vocal effects,
and in the middle will be a selection of VCAs, subgroups, and
some important input channels. I’ll probably have some play-
back tracked – maybe four channels will be Pro Tools playback
returns – and there will be a VCA of all playback, and then a
VCA of drums, the band, keys, and vocals.
I tend to mix on the center fader tile. My 12 faders in the
middle are often a blend of VCAs and a couple of key subgroups.
The layers underneath the VCAs and inputs will have my auxs,
stems, master buses, and my matrix. The very first fader on my
right tile – the one closest to me – will be the vocal.
An interesting thing I sometimes do with subgroups is bring
them back individually into a regular input fader. That way if I
need to drive a compressor harder I can just crank that fader a
little bit. I’ll subgroup kick and snares, for example, then send
it to a single fader on that center tile. Sometimes it turns into
a bit of a head-scratcher as I set things up, but at the end of the One of the built-in effects on the SSL L350 is the Enhancer.
day I can get the whole band on those 12 faders. According to Ebdon, it’s “fantastic spatially, you can find the
frequencies that sound lovely in a room, add more of them, drive
GD: I realize this could be pure conjecture at this point, but them harder--dial-in exactly how much you want of anything.”
when do you think you will resume with your next tour?
accordingly, because people are going to be struggling econom-
JE: Ha Ha! Well, it would be nice start a new album and tour ically for a while. I think we all should prepare to experience
cycle with promo in September. Getting into TV studios first a number of bottlenecks as well. It’s going to be a free-for-all
strikes me as a good way to get back on track. That would be a once we get going again. Everyone will be trying to get out on
good way to lead up to the tour itself. In a perfect world, to be the road all at once, so questions naturally arise whether there
in rehearsals in December and back out on the road in January will be enough venues available, as well as enough gear.
of next year. Consider, however, that we’re living in anything It’s best to live in the positive. As long as enough time has
but a perfect world at the moment. passed and it’s safe, I really hope people will come out and gather
Whatever we do and whenever we do it, it’s going to be a together for a show again. When the time is right, we all need
different touring situation than the ones we planned three to make some music and get working again. LSI
months ago. I think in general, tours are going to have to be
able to adapt to many different venues, massive productions Gregory A. DeTogne is a writer and editor who has served the
are going to have to scale down, and ticket prices should drop pro audio industry for more than 35 years.

Roundtable
DELIVERING WHAT’S NEEDED

Using outboard gear and
plugins in the modern mix
world.
by Live Sound Staff
What’s your approach to plugins/outboard? Let’s see what our panel
this time out has to say…
Fletcher McDermott (FOH): Outboard pieces are my problem

solvers. They make better the thing that the console just can’t on
its own. It’s 2020, and consoles are really, really good. It takes
a lot to get to the point where nothing built into a [DiGiCo]
SD 10 can provide a solution. I only carry a vocal chain with
me, just the right amount to get checked on a plane without
issue or common enough to source anywhere in the world: Neve
5045 source enhancer, Emprical Labs Distressor and Lake LM
44 processor.
The 5045 in RMS mode does a better job of cleaning up a
vocal input than any console expander solution I’ve found. The
Distressor is still the king of fast, transparent compression.
When my vocal goes from a whisper to a lungs-worth of air and feedback risk, no master bus limiter is doing so much reduction
back, from word to word sometimes, having something that that, with it bypassed, I’m suddenly clipping the PA. I’m losing
can clamp down 12 dB without sounding like it is invaluable. some subtleties and character, but not blowing up a PA or ruining
The LM 44 is my feedback fixer. I often find myself working a show mid song. Yes, my approach with plugins (specifically ones
in less-than-ideal rooms with less-than-ideal PA placement. living on an outside server) is a defensive one, but the minute we
Having the flexibility of the LM 44’s EQ (let’s face it, four bands stop having contingency plans is the show a computer crashes
on a console just isn’t enough for every situation), along with or the wrong Cat-5 cable pulls out the back of a rack, and so on.
[Rational Acoustics] Smaart API integration, gives me the tools One other place I do find loads more flexibility with plugins
to get those extra few dB out of a vocal I’m struggling with. than I do in console channel strips is with sidechain control.
Combined with the 5045, I can get the quietest of vocals up to Sure, consoles offer more than enough control to let me side-
a fighting level in a challenging acoustic space. chain a bass comp to the kick or open a snare bottom gate
Plugins, on the other hand, are my “better makers.” I try based on the snare top. But when I want all the vocal effects to
not to lean on them (I employ Waves plugins) too heavily to completely clear themselves from the center of the mix when
the point that my show falls apart completely if I don’t have the lead vocalist sings and just hang out on the sides until I’m
them. It gets me that extra snap from a drum (Smack Attack ready for their tails to re-grab some of the center image once
Transient Shaper, SSL Buss Comp), that extra width from a they’ve stop singing, or I want to make sure 2 kHz on a guitar
guitar (Vitamin, PS22), and/or that touch of extra “shine” on solo cuts above the rest of the band/tracks no matter what,
top of a vocal (CLA-2A, C6). Waves offers more options for me with F6/C6 sidechaining.
All my Waves inserts live on groups, not channels. The chan- Again, these are all subtle group moves; if they disappeared, I
nels have all the basic console processing they need to stand on might find myself just riding the guitar a little harder during a
their own. This aids my contingency plan for what happens if solo or bringing back the vocal FX overall – nothing I couldn’t
the plugins go “poof” during a set – the mix is still there and I’m live without, but at the same time, tools that I love to have.
just rebalancing 12 groups, versus needing to start from scratch
with 45 input channels. Everything is also gain staged in such Eddie Caipo (Monitors): Do I miss outboard gear? Of course!
a way that if they’re bypassed, nothing jumps in level by 10 dB, But would I go back using it? Probably not. In my humble opin-
nothing suddenly loses all of its subtractive EQ and becomes a ion, the power, flexibility, consistency, and sound quality with

ROUNDTABLE
the tools (plugins) that we have now is by far the most efficient Andy Coules (FOH): Back in the good old days when everything
way of doing our job. I can automate the settings of reverbs, was analog my approach to effect processing was understandably
delays, comps, gates, EQ’s and basically any and every param- different to how I do things in the digital domain. Few venues
eter that I use. had more than four effects units and often only offered a handful
No matter how good, fast or “bad-ass” we thought we were; of gates and compressors – many had less – so I quickly learnt
we were never able to accomplish it before, especially with the to adapt my mix to suit the limitations of each different venue.
present level of detail, and more importantly, consistency. I
can save my presets on a thumb drive and use them back and
forth in the studio and/or live. Not to mention many plugin
companies are very close – if not identical – to the original
sound of vintage gear. Onward and upward…
Ken “Pooch” Van Druten (FOH): Plugins and outboard gear

are the salt and pepper of the recipe. You still have to have a
solid dish before you can season it up. My approach to plugins
and outboard: are they really needed? I always ask myself when
grabbing for a plugin, “Can I accomplish what I’m looking to do
on my console surface?” My go-to is always surface first, then
apply outboard and plugs only if I’m unable to get what I need.
There are a few plugins that I use on a regular basis with my
usual customers, and I know that I’ll be using them because
experience tells me that they’re the ones I like on certain inputs.
But those instances are few and I use them for very specific
purposes.
So, despite my reputation as a heavy plugin user, I actually
use less than most folks think. I almost never have plugin chains
that are more than two plugs in a row. In fact, the number one
reason I see engineers failing is because of overuse of plugins
and/or outboard. They’re the seasoning, and who wants an
overly spiced dish?
Becky Pell (Monitors): I’m an old-school minimalist when it

comes to plugins and outboard. I believe in getting everything
as good as it possibly can be at source – instrument tuned well,
experimenting with finding the best microphone or DI for the
job with optimal settings on filters and pads, mic placement,
gain structure, low- and high-pass channel filters used wisely.
(I’m frequently surprised how often people neglect high-passes
in particular – they’re so valuable for cleaning up unnecessary
information which accumulates and muddies a mix.) Between
that and judicious use of onboard EQ (I always use parametrics
on both inputs and outputs because I like the greater finesse
they allow in comparison to graphics), and some sensitively
applied compression where necessary, I rarely hear the need
to add anything else.
That said, I do like multi-band compression, especially if I
need it on vocals – again, because it allows a greater degree of
accuracy. I used to employ tools like the BSS DPR901 before
they were onboard. All of that is now supplied by my preferred
DiGiCo desks, so I don’t need to introduce plugins. If I want to
do something extra special with reverbs, I occasionally use an
outboard TC Electronic 6000 reverb, but DiGiCo reverbs have
gone from strength to strength in recent years. So, I’m really
pretty boring when it comes to external toys!

If I ever traveled with my own outboard, it was usually just a
guitar effects pedal with a tap tempo function because some
effects units didn’t even have that.
The digital revolution changed all that, having a gate and
compressor on every single channel was a revelation. I started
routinely putting a gate AND a compressor on certain inputs
which is something you could only previously do by clambering
around in the back of the effects rack to chain units together (a
practice which was invariably frowned upon by house engineers).
In terms of send effects initially I stuck with the tried and tested
four reverb/delay effects model but soon realized I could really
open up the mixes with more subtle additions such as dynamic
EQ, pitch shifters and amp simulators and nowadays I often
find myself running many more effects.
The point I’m trying to make is that live sound engineers have
always had to adapt to what’s available in order to deliver the
best mix night after night and that hasn’t really changed. How-
ever, the creative palette has evolved and expanded increasing
the options available to us so the only real limit we have now
is our own imagination. of delay to the drum tracks, but it took me a minute to figure
out why the low-end had become mushy.
Ales Stefancic (FOH): I tend to keep my plugin use to a min- Also, at the very next show, a one-off on rental gear, it took
imum. But when I do use them, I go for the top down approach a good bit of time to get the plugin processing system up and
by using them first on my master bus and other busses (groups running – time I could have used tuning the PA or listening
and auxes), then I apply them to individual channels. I tend to closer to inputs in the PA. Again, I had to ask myself, “Is this
go for multipurpose plugins, such as dynamic compressors or EQ all worth it or can I still make this sound great without the
units, that allow me to shape the signal’s dynamics and frequen- help of plugins?” Some can improve the sound of an input just
cies at the same time. But I always tend to get my mix done with by being inline, so I guess it’s sometimes worth it, but for me,
on-board processing first and just achieving the final stages with I find a well-tuned PA, a great-sounding input and a focused
additional plugins. Especially if adding plugins means adding an sound check often win the day.
external processing system, I tend to have a fail-safe switch, that
allows me to bypass external plugins and just go to the internal Scott Mullane (FOH): Given the fact that I like to keep “fly
processing. That just gives me another option of bringing a show weight” down in all areas of my traveling production, the idea
to the end in case of external processing failure. of outboard is a non-event for me. The same goes for plugins.
Most digital consoles offer a crazy amount of processing built
Jim Yakabuski (FOH): My approach is one of restraint (do right into the board, and having had a lot of experience on
I really need four plugins on that snare drum?), A/B testing most boards, I have a short list of boards that I accept on my
(one plugin versus another, along with plugin IN or in bypass riders that I know and trust to deliver the processing I require.
mode) and a healthy dose of asking myself every time, “Do I That said, some people may be surprised at some of the boards
really need a plugin or can I make this work with the processing on that list.
on the console?” I like to keep things simple for a number of reasons – work-
Having said that, I recently started playing around with a flow, reliability, latency and time allowances among them. I’ve
[Waves] Smack Attack Transient Shaper on kick and snare after seen many an engineer spend far too much time trying to get
years of hearing from my colleague Paul Hager that I should do a Waves server to function correctly, or worse, stop the show.
so. It’s a really cool tool, providing a processed result that’s hard I’m also far too “OCD” about latency to allow a product to add
to achieve without the use of a special plugin or outboard gear. more delay to the time domain that then contributes to the
But I was recently reminded of a good reason why I don’t mix experience. Frequency, level (SPL) and time are at the core
always dive into the use of plugins over conventional methods: of our mixes, so why would I want to disadvantage the time
Latency! When I was happy with the result of the kick and snare domain by unnecessarily adding latencies?
sound running through the Transient Shaper, I noticed they So, for me, adding third-party processing and/or several AD/
were slightly delayed in relation to the drum tracks coming DA stages often doesn’t meet a satisfactory benefit. This leaves
from the playback rig so I was experiencing some cancelled sub me to find a range of consoles that provide super low-latency
energy and flamming, which resulted in the impact sounding processing and sound good doing it. The “KISS” mantra suits
very loose. I was able to correct this by adding a small amount me for most of my touring needs. LSI

Front Lines
PHOTO CREDIT: DAVID KINDLERD

Manager partner Paul Bulger seeking “audio zen” at The Wire, a live music venue in Chicagoland.
SAGE COUNSEL 5) Label all cables. Not just that – label

everything. It’s almost impossible to over
A head start 1) Be nice to everyone! (Seriously!) We
sound folks are notoriously grumpy for no
label. Use artist tape or white gaff if you
must. And try to make it legible.
on some good reason I can think of. Stop it! We’re
essentials for
lucky to not be digging ditches for a living. 6) Take the labels off at load out. Don’t
make someone else undo your show
less-experienced
2) Cable path. Figure it out first before later.
running anything. Straighter is better.
techs.
Neatness is critical. Staying out of the way 7) Pay attention to what microphones
of the talent/client is a Very Good Idea™. look like up close, because there’s a good
chance they’re going to end up magnified
by Brian Maddox 3) Sort out the comms. I’ve seen more – a lot – on camera. Connectors too. Use
shows ruined by bad comms than any the pretty connectors for the lecterns and
other reason and it’s not even close. vocal mics and save the ratty old stuff for
A
s a “fairly seasoned” audio pro- Learn how to run comms correctly and places where it doesn’t show.
fessional, people often ask me don’t blow off testing it until the end.
for tips to pass on to younger 8) Label all wireless mics with unique
folks coming up in the business. Thanks 4) That buzz isn’t being caused by power numbers. For example, don’t label Lavs
for asking – here are some that come to cables too close to your audio. Trust me, 1-6 and Handhelds 1-4. It’s Lavs 1-6 and
mind. it isn’t. Stop this nonsense. Handhelds 7-10.

A Quick Thank You.
(<0.7ms to be exact)
Built on our latest generation 96kHz XCVI core, SQ sets the new standard
for compact digital mixers — delivering pristine, high resolution audio
with a class-leading latency of <0.7ms.
Thank you for honoring the SQ Series with a second NAMM TEC Award for
Outstanding Technical Achievement in Small Format Console Technology.
FRONT LINES
9) As much as possible patch

things one for one, i.e., Stage-
box Input 1 goes to Stagebox
Dante/MADI Output 1 goes
to Console Dante/M ADI
Input 1 goes to Console
Channel 1. Just because you
can cross patch everything
digitally now doesn’t mean
you should. Which leads to the
next point…
10) Keep everything as simple

as possible. Patch from top to
bottom and/or left to right.
With stereo cable pairs that
have color, always use red
right. And try to do things in
the most intuitive way possi-
ble – being quirky doesn’t win
you extra points.
11) Label multiple inputs of

the same type by color or letter
to avoid confusion. Graphics A
and B, not 1 and 2. Video Play-
back Red and Green. If multiple Just don’t start in the middle on the piece you “think
things are labeled “3,” you’re
simply inviting confusion. is probably the issue.”
12) Tape down cables properly. If you don’t C) Start at one end of the signal and skip things because you “know
know how, just ask someone more experi- chain. I tend to start at the input it’s not that.” (Ask me how I know.)
enced to show you. (We don’t mind.) Only side, but in most cases it doesn’t
use Gaff tape. Ever. And always use gaff really matter – just don’t start in F) Once you’ve identified the prob-
tape, even if you have to bring it yourself. the middle on the piece you “think lem part of the chain, swap out for a
is probably the issue.” It doesn’t save known good piece of gear and retest.
And Finally) Learn how to troubleshoot! you time. (Trust me.) Then label the broken thing before
(Seriously!) I see this more than anything putting it back in the case, including
else and it makes me crazy. If something D) Change out one thing at a time. your name, the date, and the symp-
isn’t working right, don’t just start chang- If it doesn’t fix the problem, change tom. “It’s broken” is not super helpful
ing random things until the problem [hope- it back! Note: there’s a shortcut to the repair team.
fully!] goes away. The step-by-step process: here that can come in quite handy:
simply swap the Bad Thing with a This is certainly not a comprehensive
A) First, test your tester. If using a Known Good Thing already in use. list, but it’s a good start. Hopefully some-
Cue Box, plug in something that is For instance, swapping the left and thing in here will save you the trouble of
working to make sure it’s working. If right channels of a keyboard when learning things the way I did, which was
using a mic to test an input, first plug only one channel is bad. If the prob- of course, The Hard Way. LSI
it into a working input. (Even if it’s an lem moves with the swap, the issue is
SM58 that you “know” works.) upstream, and if it doesn’t, the issue Over a 30-year career, Brian Maddox has
is downstream. Again, always swap it worked with everybody from U.S. Presidents
B) Isolate the problem. Is it just one back before proceeding. to Patti LaBelle to The Pope. Specializing in
loudspeaker or all of them? Is it more corporate events, he’s currently active as a
than one input? Remove as many vari- E) Move methodically through the freelance A1, RF coordinator, and comms
ables as possible. entire signal chain. Don’t get flustered tech. Reach him via LinkedIn.

THE POINT
SOURCE
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Reality Check
CALLING ALL DRUMMERS

Some friendly advice to rience, most people want to know how to attain great-sounding
help us all have a great-

drums. This is partly because drum kits, in most cases, are the
most complex instrument on stage we have to tackle, and also
sounding show.
partly because having drums that sound great translates into
great-sounding shows.
by Aleš Štefančič
The beat element in music is so primal and so rooted in our
bodies that listeners tend to intently focus on it, which means
that mix engineers across the globe spend hours and hours of
I
frequently discuss crucial things that I wish artists knew their time getting the drums just right. That said, drummers
about the perspective of sound engineers in reaching can make our jobs much easier if they know how to help.
our shared goal of producing great-sounding shows
with far less hassle and tension. Here my focus turns to drums IT STARTS AT THE SOURCE
and drummers. Getting quality sound from a PA system starts with the source(s).
Drum sound is one of the most prevailing and all-consuming Loudspeakers are a magnifying glass – even minor imperfections
topics in live sound. Whenever I attend webinars, lectures or at the source can become painfully obvious when amplified. The
seminars given by engineers, or even in my own teaching expe- more space the drums have in a mix, the more obvious they are.

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ADVANCED DSP FEATURING LINEAR ACOUSTIC COMPATIBILITY WITH VIO L210
PHASE FIR FILTERS
[email protected] dBTechnologies www.dbtechnologies.com

REALITY CHECK
Making sure the drum kit is in perfect working condition is and tearing down the kit, and now I’m asking to carry even
a key element. All hardware should be tightened and checked more stuff and do more with it? Well, yes. It doesn’t have to
for unwanted rattling noises, heads should be recent (and be another van of full of gear, but here are the essentials that,
not, pardon the pun, too beat up), there must be proper tun- honestly, should already be carried in the tool bag.
ing (not just tone, but sustain as well), cymbals should be Drum keys for tuning the drums (notice the plural). These need
thoughtfully selected – these factors and more can make or to be in reach at all times, especially if there’s an emergency
break drum sound. that must be addressed either during sound check or during
There’s no EQ or Exciter or compressor (or magic wand) in the show. And since keys are prone to accompanying guitar
the world on any mixing console that can make a dull-sounding picks to the Bermuda Triangle (or wherever things of this
snare sound right if its head is worn out. We may be able to nature go when they get lost), more than one should always
mask some minor imperfections in the mix, but with the beat be on hand .
being such a prominent element, it’s impossible to make it right Moon gels and other head-dampening options. That long sustain-
with a bad source. Drum kits must always be stage ready, with ing sound of the toms indeed might be pleasant, but sometimes
fresh heads, and with pedals and the rest of the hardware in it just doesn’t work when amplified. Having proper solutions
top shape – and don’t forget about the drum throne. to address ringing at the source can prevent engineers from
It’s amazing how many times I’ve had intimate acoustic sets using excessive settings on gates, making the drums sound
ruined when, at the end of an emotional song, a drummer more natural and providing more dynamic range to play with
shifts in the chair and there’s a loud metallic shriek that ruins during the performance.
the magic for everyone in the room. Professional gaff tape that doesn’t leave residue on cymbals and
a roll of toilet paper. These work very well for dampening over-
CARRY THE RIGHT TOOLS bearing cymbals in smaller venues. Simply tape a piece of TP to
I know, I know – drummers already have to schlep around tons the underside of the cymbal. It’s also advisable for drummers to
of gear and have to spend most of the allotted time setting up protect cymbals from unprofessional tape that leaves a sticky

residue by bringing your own tape and using it at the request of This allows us to quickly set input gain levels and work out any
the engineer. A pricier option is carrying and applying pro-cal- other problems with the kit.
iber cymbal-dampening magnets. A major issue we experience on a daily basis is what I call a
Spare heads and other parts that might be needed. Even if the “two-faced” drummer. The first personality is present during
heads are replaced regularly, it’s always prudent to have some sound check where the hits are done with an air of “Don’t care,
backup, especially for snare. Live shows are unpredictable beasts let’s just move along.” The second one is revealed during the
with lots of moving parts. One wrong move and something show where the drums are immensely louder – all the adrenaline
sharp might come in contact with a head, rendering it unusable. rushing in makes the drummer hit harder, which effectively
Although you can’t prepare for every little thing that might renders our sound check work useless. My advice: even if playing
happen, a show can be severely impacted without one of the just one element of the kit, imagine it’s a song from the set list
toms, let alone the loss of the snare. A suggestion: carry different and the show has already started. This helps build consistency
styles/types of heads to experiment with various sounds and in having an optimal-sounding kit from the top of the show.
see which one works best when amplified.
Working cables (and spares) for all backing tracks players, WHAT ABOUT MONITORING?
clicks, mixers, etc. A drum kit on its own can easily take up Let’s repeat the obvious: drums are quite a loud instrument.
10 or more channels on the console. Adding backing tracks Drummers should be aware of it and take every precaution to
and metronome lines on top of that increases the amount keep their hearing intact. Instead of just sound dampening
of work needed to get a drummer set up. If signals are con- head gear, I strongly recommend a good pair of in-ear monitors
stantly cutting in and out because of bad cables/connectors, moulded to the specific ears. These custom builds are necessary
that workload goes through the roof. Also, those using and if drummers want to have the low-end information properly
controlling a backing track rig or triggering samples should present in their monitor mix while keeping the leakage of the
be sure to properly mark the needed outputs and/or cables surrounding environment to a minimum.
with channel numbers that correspond to the most updated Having said that, I still see way too many drummers wearing
technical rider and the names of the channels. This can keep IEMs to “protect their hearing,” only to then blast ungodly
the guessing game to a minimum while also helping connec- amounts of click levels into their earphones. So just as a PSA,
tions to be done in the least amount of time. I feel obliged to say: don’t. Not only can it damage hearing, but
it cuts drummers off from the other band members, interfering
BE MINDFUL OF THE SURROUNDINGS with their ability respond to musical cues.
When setting up drums on stage, be aware of everything around The best approach seems to be to put the click off center and/
you. If there’s an engineer or stagehand setting up microphones or at such a level that it can only be detected if the drummer
on the kit, show them respect by not playing while their ears is out of sync with it. Those not wearing IEMs and still relying
are inches away from an extremely loud sound source. on wedges must try figure out what the lowest level they can
It’s important to check where everything is positioned and to work with comfortably. The feed from the drum wedge can get
adjust for accuracy and comfort but waiting 15 seconds until the picked up by overhead, hi-hat or any other mic close enough
kick mic is placed and connected before going on a double kick in proximity.
quest for speed will be much appreciated. Especially with younger Building a great relationship with the sound team starts with
and less-experienced drummers this seems to be a big thing that these basic tips. I ask drummers to keep the conversation open
starts a lot of bad blood with the sound crew. and ask if there’s anything you can do on your end to better the
Trust me – we can mix shows much better if we’re not bleeding sound. After all, you and the audience are placed on the opposite
out of our ears while doing it. At least a “heads-up” warning sides of a very loud beast of an instrument that can often influ-
is in order so we can wear protective ear plugs or simply move ence the way you perceive the sound as opposed to how everyone
away until you’re done. else will hear it.
Sometimes it actually comes down to someone asking a drum-
BRING THE A-GAME TO SOUND CHECK mer to play differently. (“Can you try playing the hi-hat softer?”
I can imagine how boring it must be to just play the kick seems to be a popular demand.) Drummers should think hard
drum during sound check. But I promise that when we tell about their playing style if these demands are recurring – they
drummers to play the kick, it’s because we want to hear it can actually provide valuable tips for practice sessions, and
and only it. Sure, go into a crazy beat for the next 16 bars and overall, furthering skills. LSI
we’ll all just wind up exactly where we were – the engineer
asking the drummer to play the kick because engineer needs Aleš Štefančič has served for more than 20 years as a front of
to hear just that. house/monitor engineer in addition to being a technical director and
Further, a bit of discipline in sound check can help things mix engineer for the band Siddharta. Based in Slovenia, Europe,
move along much faster. Keep hits consistent and at the volume he’s also a musician and project studio owner. Go to gainmedialab.
that will be used during the show (through the louder parts). com for more of his articles and a roster of upcoming online courses.

Road Test
ELECTRO-VOICE MFX & DYNACORD TGX
Checking
out a new
loudspeaker-
amplifier combo.
by Michael Lawrence
N
ew Electro-Voice MFX multi-func-
tion coaxial loudspeakers and
TGX series DSP power amplifiers
from sibling brand Dynacord are optimized
to work together to form a complete sys-
tem for applications that include stage
monitoring, front and side fill, and smaller Electro-Voice MFX Series loudspeakers are designed to serve as stage monitors (shown
mains. here without the grille), mains and fills.
EV recently sent me both components
– pairs of the MFX-15MC (15-inch) and MFX-12MC (12-inch) within the cabinet envelope. The panel includes NL4 input
loudspeakers joined by a Dynacord TGX20 four-channel ampli- and loop-through connections, along with the passive/bi-amp
fier – for an evaluation. Let’s start with the loudspeakers, which switch.
are equipped with coaxially aligned high- and low-frequency A couple more points of interest: the coaxial driver and horn
transducers working with a newly engineered constant-direc- assembly can be uninstalled and re-installed with a 90-degree
tivity waveguide and crossover. rotation, which also rotates the coverage pattern (EV recom-
Coverage in the stage monitor orientation is 40 degrees (h) mends this for install applications only). Both models also
x 60 degrees (v). The company states that the dimensions and include an integrated pole cup (located in the side handle
location of the waveguide interact with the woofer to create a recesses) and four M10 suspension points to attach custom U
bipole output, a design intended to enhance coverage control brackets for wall-mount or flown use. Truss clamps, stand-mount
through the midrange frequencies. The coaxial driver approach adapters and a rigging bar are available for live or permanent
is also intended to present a lower-profile footprint on stage, installations.
with dual monitor angles (35 and 55 degrees) allowing output
to be more accurately focused towards the performer. They also WORKING IN TANDEM
sport integrated cups for pole-mount applications. MFX loudspeakers are optimized for use with both the TGX
Both models can be deployed in passive or bi-amp configura- (for live) and IPX (for install) series amplifiers from Dynacord.
tion, and can be optimized for different uses via DSP settings Two TGX models are offered (TGX10 and TGX20), and they’re
in the amplifier. Continuous power handling is stated as 450 also available in a preconfigured system rack including three
watts for the MFX-12MC and 500 watts for the MFX-15MC. TGX20s, power distribution, input and output interfaces and
Stated sensitivity for both models is 97 dB SPL (1 W/1 m). network redundancy.
The wedges can be driven either passive or bi-amped via a
rear switch.
Overall, the form factor and trim are very sleek, which is a
big plus for me – I really don’t like large stage monitors that
obstruct audience view and add to the clutter. Lifting them via
the built-in handles, they’re solid and hefty without feeling
bulky. (The 15-inch model weighs 51 pounds and the 12-inch
model checks in at 42 pounds.)
The input panel on the birch plywood enclosure is recessed
into the rear of the loudspeaker to help protect connectors Front and back panel views of the Dynacord TGX20 amplifier.

The TGX20 is an impressive piece of hardware.
It’s a four-channel amplifier with fully integrated
DSP running at 96 kHz with proprietary FIR (Finite
Impulse Response) Drive technology, configurable
via the SONICUE control software over a network,
or alternatively the front-panel touchscreen, which
I found intuitive and responsive. The TGX20 has
a stated IHFA-202 burst power rating of 5000 W
/ channel at 4 ohms with all channels driven, and
a voltage gain adjustable between 24 and 40 dB,
corresponding to an input sensitivity of 5.7 to 21.7
dBu. Inputs can come via analog, AES3, or Dante,
with configurable failover and input trim to match
levels between sources.
At the time the rig showed up, my plan was to use
it for an upcoming gig with an AC/DC tribute act that How the audience views an MFX loudspeaker on stage.
required loud wedges, and I was very much looking
forward to turning the monitor engineer loose with this rig, for each channel, set my input and output routing, and establish
but alas it was not to be. However, I did set the rig up in my my desired gain structure, all without consulting documentation.
shop and after some listening and testing, found these wedges I particularly like the EQ interface (which offers a nice variety
to be a significant improvement over the models we currently of filter topologies including notch and asymmetric) and the load
deploy for such events. monitoring feature. For each of the loudspeakers, there’s a choice
I employed the Meyer Sound M-Noise procedure to document of full-range FOH or monitor presets – the former employing
sound pressure levels. The MFX-12MC, using the corresponding FIR filters that achieved a nominally flat phase response above
preset in the TGX20 amplifier, cleanly produced 115 dB SPL C 250 Hz and the latter employing minimum phase filtering for
Slow Max and 130 dB Peak C before the preset limiter kicked in. latency-critical monitoring applications. (I measured the amp’s
Further bench testing revealed that the presets (more on those throughput latency at 0.73 milliseconds when using monitor
in a bit) do a nice job of presenting a nominally flat frequency presets and analog inputs, with the linear-phase FIR filters for
response – and more importantly, matched both models. Usually, FOH applications clocking in around 6 ms).
when I have multiple wedge models on stage, time needs to be Both the FOH and monitor presets come in passive and
spent making sure they all sound reasonably similar, and in bi-amped versions, as well as 80 Hz high-passed versions of
this case they matched very well, which I certainly appreciate. each as well, with additional time alignment in place to align
In monitor position, I found the HF coverage to be quite even with a companion subwoofer, according to the applications
throughout the 40- x 60-degree (h x v) coverage pattern due engineering team at EV.
to the coaxial configuration. The 1 kHz crossover region, a problematic area for many
coaxial boxes, is well-behaved here, even when running in pas-
THROUGH ITS PACES sive mode. Thanks to the well-behaved magnitude and phase
SONICUE is one of the most intuitive and easy to use software response, they maintain a pleasing clarity and a satisfying
platforms that I’ve encountered for networked DSP amplifiers. I amount of stability against feedback.
was able to quickly connect to the amp and load the desired presets The rig as a whole is, in my opinion, extremely well suited to
getting quickly set up and rolling, with intuitive yet powerful
DSP control software and very functional “out of the box”
tunings, which I would feel comfortable mixing on without
having to do a bunch of additional “taste” tuning. Overall, MFX
multi-function loudspeakers and TGX amplifiers form a very
effective and capable monitor system that I would be happy to
encounter in a professional setting. LSI
U.S. MSRP – MFX-15MC: $2,652; MFX-12MC: $2,346;
Dynacord TGX20: $12,230
Michael Lawrence is an independent front of house engineer and

system tech, and he’s also the technical editor of various pro audio
A screenshot of the SONICUE software platform that interfaces publications. Read more from Michael and reach him at precision-
with the TGX Series. audioservices.com.

Backstage Class
GROUPING & NAVIGATION

The “secret
recipe” for
mixing large-
scale, high-input
count shows.
by Robert Scovill
R
ecently, I was charged with mix-
ing a massive television event
that included a large orchestra,
a traditional band ensemble; drums, bass,
guitars keys, a huge percussion rig, Pro
Tools playback, etc., with upwards of 30
The author at FOH, joined by an Avid VENUE S6L console, working the event detailed in
handheld vocal microphones along with the article.
presenting all of the production elements
for the show; introductions, video rolls, music inputs to the production inputs For example, as I’ve mentioned in pre-
stage announcements. “Oh, and while quick enough to make the changes, let vious articles on this subject, I use audio
you’re mixing it, let’s record it in multi- alone the inability to actually mix the submasters as a master volume for a “fam-
track form too, OK?” Um … OK. event. And recording it all in discrete ily” of instruments and processing returns.
While the event was in full swing, I multi-track form? Forget about it. The A common example is a drum submaster
had a kind of an “in awe” moment. No, show alone would have required a couple that would contain all drum inputs, all
not at how great it was all sounding or of mix engineers, maybe even three, to drum parallel compression sets, and all
the caliber of the musicianship, which mix the event, not to mention record it. drum processing. The same for keyboards,
was incredible by the way. No, I had a Come to think of it, that’s not far off or electric guitars, or backing vocals, etc. A
moment of awe at just how effortlessly of what we used to actually do for shows master volume for a blended set of inputs
modern mixing technology was allowing that were lesser in scale. But here I sat. and processing represented by one fader
me to handle a channel count approach- One person in total control, mixing stress for each family on the top layer of the
ing 200 on a mixing console that offered free. Kind of on cruise control. console. Stems representing the building
up a whopping 32 faders. blocks of the music.
I looked down and took stock of what POWERFUL STUFF This type of bus used in conjunction
I was sitting in front of in terms of capa- So, what was the secret recipe? Well, it with “spill” functionality provides an
bility versus its physical presence. It sud- lies in the awesome combined power of immediate collation of all of the inputs
denly dawned on me that if this console five feature elements on some of today’s assigned to that audio submaster brought
was built using analog technology and digital mixers: 1) User-defined, snap- to the top layer of the console for imme-
hardware but was required to offer the shot-recallable fader layouts, 2) Audio diate access and editing. Used in con-
same input and output capacity, I physi- submasters, 3) VCA (DCA) masters, 4) junction with bank safe, currently vital
cally would not be able to operate it – 96 Matrices, and 5) The ability to spill a set channels can be locked to the event on
mix buses plus EQ and pre-amp controls of sources assigned to any of these buses the top layer while spilling in order to not
along with group assignment buttons, in conjunction with the ability to quickly lose sight of those channels you need to
faders, and so on would create a channel “bank safe” any channel strip and lock it in order to continue mixing.
strip physically too long or deep to actu- in place while navigating to other loca- A similar approach applies to my use of
ally reach past about aux 20. tions in the console for quick adjustments VCAs. Remember, a VCA fader is essen-
In addition, with 192 channels, I would and then immediately snap back to the tially a master remote control fader for
have needed roller skates to get from the recalled top layer layout. any number of input or output faders

assigned to it. For example, in the case
of say, a guitar player, I’m likely assign-
ing all of his/her input faders to a single
VCA regardless of what this musician is
playing at any given time. Once done,
I now have one single fader that rep-
resents him/her, on the top layer, that I
can immediately adjust volume for and
ride at any point in the performance.
But what if I need to quickly adjust the
EQ on that keyboard this musician plays
for 16 bars of that one song? Spill his/her
VCA and it snaps to the top layer along
with this musician’s other inputs under
the control of this VCA regardless of
where they might be scattered through-
out the input layers. EQ, release the spill,
and you’re back to work.
ADDITIONAL PLUSSES
In addition, if I’m using a PA system
that is driven by multiple sources from
the console – maybe matrixes for the
loudspeaker arrays and auxiliaries for
the subwoofers, for example – I have a
single VCA that’s assigned to all of those
matrix and aux masters, allowing me to
have one single fader on the console that
represents the “volume” of the PA system. 192 channels? 32 faders? And you also want a multitrack recording? No problem.
And the beauty is that the spill and
bank safe workflows work exactly the The final spice in this operational secret any input or output processing channel.
same on these types of faders as well. If recipe is fader layouts that are not only And when used in conjunction with the
I spill my PA Grand Master VCA, I have user definable but also recallable by snap- bank safe capabilities, it’s the least disrup-
all of the PA drive matrix masters now in shot. This is vital to the easy workflow of tive to your efforts to mix and keep track
front of me, and if I then initiate a spill a show of this scale and no better example of the event happening in front of you.
on any one of the matrixes, I have the of that than managing the high number Another added bonus: you never have
ability to adjust any of the sources being of vocal mics on this particular show. to move left or right during the event to
blended within that matrix. With the exception of the finale, where do so. Everything is centrally addressed
In this example of an aux driven sub, all of the vocal mics were used, most per- from one listening location. Awesome.
once that aux arrives at the top layer in formances required no more than four Simply awesome. I’m even more in awe
the PA Grand Master spill, I can then use vocal mics at a time. after having just written about it. LSI
a combination of “spill” and “SOF” (Sends So, with snapshot recall, all vocal
On Faders) and in one button push have mics can be plugged in and operational, Robert Scovill is a 35-year veteran of pro-
instant access to only the send sources and you are simply choosing which mic fessional concert sound and recording and has
that are “on” in that auxiliary. They arrive channel is in the channel slot you have mixed more than 3,500 events for noted art-
to the top layer as a filtered set of inputs designated as a lead vocal channel. Even ists such as Tom Petty and the Heartbreakers,
that normally might be scattered across though it’s a different mic and a different Matchbox Twenty, Jackson Browne, Rush,
multiple layers requiring excessive nav- performer for nearly every song, the vocal Def Leppard and many others. In addition,
igation to get to them and rebalance channel remains in the familiar position, he’s the pioneer of virtual sound check and
them. By deploying spill plus SOF, only making muscle memory easy to maintain modern multi-track archiving for concert
the sources that are on are available to on the most vital inputs of the show. Sim- tours, has garnered numerous industry
the top layer of the console when spilled ply fantastic. accolades that include six TEC Awards, and
without disrupting the inputs necessary It’s all extremely intuitive and blindingly also serves as senior specialist for Live Sound
to carry on mixing the event. fast, providing the ability to quickly address products at Avid.

World Stage
STEADY PROGRESSION
Recent
applications
of pro audio
PHOTO CREDIT: THOMAS JACKSON/TYNESIGHT PHOTOGRAPHY

technology.
by Live Sound Staff
SEAMLESSLY SHIFTING A
PRODUCTION
With the cancellation of this year’s British

Music Embassy (BME) live showcase for
emerging British musicians at South by
Southwest (SXSW) in Austin, the BME
and its partners transitioned to offer an
alternative broadcast event in the form Allen & Heath dLive in action at the closed-door sessions at The Mill in West London.
of a series of closed-door studio sessions
staged at Production Park’s The Mill in Allen & Heath’s new PRIME 8-channel An additional complement of IS10p
West London, with Allen & Heath mix preamps, fitted in a DX32 expander on point-source enclosures from Adamson’s
systems at the hub of this effort. The stage, completed the package. install-focused IS-Series are deployed as
broadcasts were distributed via radio and fills: a single IS10p for center fill, two for
live streams across social media, ARRANGING FOR THE gallery fill, and two delays. Finally, six
“It just seemed like an obvious solution DESIRED RESPONSE Adamson Point 8s reside at the front of
for us and the British artists,” says Ant the stage as lip fills. The system enhances
Forbes, production manager for the BME Rain Pro Media (Eugene, OR) recently the church’s spoken word and contem-
and The Mill. “The format of showcasing helped Capital Christian Center in Sacra- porary music ministry as well as more
artists in a virtual sense also made huge mento, CA, with a substantial upgrade to elaborate applications like its renowned
sense and felt like a natural progression. the audiovisual systems in its main sanctu- Easter and Christmas services.
There’s definitely a future to this style of ary, including a new sound reinforcement “Our Adamson S10 system has every-
event and we’ll be looking at potentially system headed by S-Series arrays from thing a front of house engineer could
recreating this after the event next year.” Adamson Systems
With just a few days to pull the event Engineering. Spe-
together, the audio system was kept as cifically, the team
close to the original plan as possible, with at Rain designed
an emphasis on walk-up-and-mix usabil- and installed the
ity for guest engineers working with tight new system for
turnaround times. A dLive S5000 surface the church’s 3,000-
with a DM32 MixRack was deployed at seat auditorium,
PHOTO CREDIT: JEFF MILLER
front of house, with another S5000 paired anchored by main

with a DM64 on monitors, connected arrays of 10 com-
via gigaACE. In addition, a new Avantis pact S10 full-range
console served as the production con- enclosures per
sole, fitted with gigaACE and Dante cards, side, each flanked
allowing patching to the dLive systems by four flown S119
and providing a multi-track feed for the subwoofers in a car- Adamsom S10 arrays and S119 subs flying at Capital Christian
BBC and MQA live-streams. A trio of dioid configuration. Center in Sacramento.

want: excellent coverage and pattern con-
trol; a clean, smooth, and musical sound;
and the power to handle theatrical pro-
ductions, rock music, and everything in
between,” says Loren Mauch, lead audio
engineer at Capital Christian Center. “I
have never had the gain before feedback,
sonic clarity, or consistent response that
I enjoy with our Adamson rig.”
TRANSFORMING WHAT’S OLD

INTO NEW AGAIN
In 2017, the city of Lorient, France

decided to invest in converting a portion
of delinquent submarine base dating back
to World War II into a center of creativity L-Acoustics K1/K2 deployed in support of Post Malone
dedicated to nurturing the culture of con- (inset) before the shutdown.
temporary music, with the result being
recording production facilities as well utor Eurolive and installed by local of 16 K1 flown over four K2 per side as the
as a 500-capacity concert hall equipped Lorient-based rental company and inte- main hangs, each backed by 12 KS28 subs
with d&b audiotechnik V-Series line grator Galloud Sonorisation. “V-Series flown in cardioid configuration. Adjacent
arrays optimized with ArrayProcessing offers the perfect power-to-size ratio for out fill arrays each consisted of 16 K2, while
technology. l’Hydrophone with plenty of headroom two additional hangs of 18 Kara enclosures
The structure – now rechristened while remaining compact and visually covered the 270-degree seating areas.
l’Hydrophone – houses five rehearsal discreet,” says Mathias Alonso, manager Additional low-frequency energy was
studios and two master control rooms of the venue. “Power output, directivity generated by a total of 24 more ground-
for recording and broadcast purposes, as and coverage are tremendous. The com- based, cardioid-configured KS28 enclo-
well as offices, dressing rooms, catering peting solution was so much bigger and sures, while two stacks of two K2 per
facilities and more. There’s also a sec- more cumbersome to achieve the same side, plus one Kara centered at the very
ond, more intimate concert hall known power output, it ended up being a very end of the stage thrust, provided distrib-
as Le Club deliberately designed to be a easy choice.” uted front fill. Everything was powered
less intimidating space in which young by LA12X amplified controllers, with the
and emerging talent can perform that’s BIG TOUR SOUND PRIOR TO exception of the 270-degree hangs and
served by two d&b Vi10Ps per side, four THE SHUTDOWN front fills, which were LA8-driven.
Vi-GSUBs and four M6 stage monitors. All signals on the tour were routed via
The equipment for both rooms was The second leg of a North American tour AVB using six Milan-certified L-Acoustics
supplied by the d&b regional distrib- by Post Malone completed most of its 22 P1 processors, with the LA8 being fed an
scheduled dates AES signal from the localized P1 proces-
before the global sors for fully digital transport through-
pandemic put out. “We had two P1 units at FOH to do
live tour ing on all the summing of the console feeds, plus
hold, supported two on stage left and two more on stage
by Detroit-based right to serve the distribution,” explains
provider Thunder systems engineer Julian Gates. “Running
Audio supplying it all via AVB with the LA12X amps made
and deploying an for such a solid rig. The clarity, defini-
L-Acoustics K1/ tion, and power that this setup provides
K2 loudspeaker is insane, and when combined with the
system. K1/K2 arrays, the system literally makes
The standard PA the audience feel like they’re right there
configuration for with the artist performing on stage,
One of the performance spaces equipped with d&b V-Series at most arenas on the even if they’re in the very last seat of
l’Hydrophone in France. tour was comprised the room.” LSI

Road Test
MARTIN AUDIO BLACKLINEX XP12
Evaluating
compact, active
loudspeakers and
subwoofer.
by Craig Leerman
A
few years ago, Martin Audio debuted
BlacklineX, a suite of passive loud-
speakers and subwoofers based
on the original Blackline Series, and more
recently, the company has also rolled out
active versions that include 12- and 15-inch
models as well as a single 18-inch subwoofer.
I recently had the opportunity to evaluate a
pair of the 12-inch units (model XP12) joined
by an XP118 subwoofer.
The XP12 is a 2-way design with a 1-inch- Front and back views of the Martin Audio BlacklineX XP12 active loudspeaker.
exit (1.75-inch-diaphragm) compression
driver on a rotatable 80- x 50-degree horn joining the woofer Frequency response of the XP12 is stated as 62 Hz – 20 kHz
in a birch/poplar plywood enclosure finished with black textured (±3 dB) and maximum SPL is listed as 122 dB continuous and
hard-wearing paint. The cabinet includes a screw-free cloth- 128 dB peak. The XP118, stated as delivering maximum SPL
backed steel front grille, integral ergonomic handles, pole-mount of 131 dB continuous and 137 dB peak, extends total system
cup and M8 flypoints, with a symmetrical, multi-angle design frequency response down to 42 Hz (±3 dB).
meaning it can also serve as a stage monitor.
The onboard 2-channel class-D amplifier module is stated GETTING ACQUAINTED
to deliver up to 1,300 watts to the transducers (1,000 watts As with all my evaluations, the first stop after the loudspeak-
LF and 300 watts). It’s joined by DSP that performs cross- ers arrived was my bench to check out the gear and make sure
over and limiter functions (LF and HF peak as well as RMS nothing was damaged in shipping. Unboxing the XP12s, it was
limiting), three loudspeaker mode/voicing presets, and immediately obvious that they’re an aesthetically attractive
3-band channel EQ with high-pass filtering. Further, there’s package and that the enclosures are definitely constructed of
a 3-channel mixer. wood. Don’t get me wrong – I like plastic boxes just fine but
A “turn-and-push” rotary control provides access to the DSP prefer wood. (Probably just the “old school” in me.)
parameters, working with a nicely sized multi-function color All looked to be in order so I plugged them in. Almost imme-
display screen. The user can opt for either the onboard inputs diately I found myself really liking the size and clarity of the
and hardwire the loudspeaker into a system or opt for the built-in display screen and the “action” of the rotary control – it makes
Bluetooth connectivity. In addition to streaming audio, the Blue- it very easy to scroll to through the menu of setting options,
tooth option offers control of the onboard DSP, mixer and mode locate the one you want, and push to activate. Turning the
functions, enabling access to the mixer EQ, mute and levels. It knob at that point provides adjustment of the selected setting.
also enables two loudspeakers to be linked for stereo playback. Control parameters include:
All controls are on the rear panel, with the rotary control
and display screen joined by two combo TRS/XLR inputs, an • Level of the three channels (Input 1, Input 2 and Bluetooth)
XLR mix output jack, a power switch and an IEC connector. The as well as master level.
loudspeaker measures at a compact size of 22.6 x 14.1 x 12.5 • EQ for the three input channels (3-band with HPF for the
inches (H x W x D) and weight is 40 pounds. two hardwired inputs).

Another front/back presentation, this time with the XP118 single 18-inch active subwoofer.
• Loudspeaker mode presets that include Full Range, With The sub’s 18-inch woofer (with 4-inch voice coil) is direct-ra-
Sub, and Monitor. diating, with the class-D amp specified as capable of supply-
• Screen brightness and on/off. ing up to 2,000 watts of power joined by DSP, peak and RMS
• A 4-digit user-generated code to lock in the settings. limiting. The enclosure is made of the same elements as the
• Bluetooth connectivity. full-range boxes, with rubber feet on the bottom of the cabinet
and recesses for the feet of another cabinet on top to facilitate
Speaking of Bluetooth, I checked that out next with my stacking. A pole-mount socket accommodates an optional pole
phone, easily connecting and then playing test tracks. The to support an XP12 or XP15, and there are 16 M10 inserts for
loudspeakers sounded quite good, and I envisioned the XP12 multiple flying options. Also on the back is a rotary control
being an easy to use option for providing quality background and display screen joined by dual TRS/XLR inputs, an XLR mix
music at events. Going through the user manual while scrolling output jack, a power switch and an IEC connector.
through the settings, I discovered that in stereo Bluetooth My colleague and I easily moved the cabinet around via the
mode, the user can select which loudspeaker is left and right handles and then stacked an XP12 atop to find out what they
– a nice touch! sounded like together. We set it in “With Sub” mode, connecting
Next, I hooked up a small mixer to the loudspeakers and the sub to the Mix out XLR and then simply dialed in as much
grabbed an iPad to play some more test tracks. Full-range mode low end as we wanted.
was indeed that – full yet balanced – with plenty of volume to
spare. Grabbing a microphone, I tried my voice through the OUT IN THE WORLD
system and my “Test 1-2, Test 1-2, Sibilance, Sibilance” sounded Satisfied that everything was working as it should, it was time to
as good as Tom Hanks himself. (I encourage those unfamiliar take the rig out to work a few gigs. First came a corporate meet-
with this reference to check out the Saturday Night Live skit ing with numerous attendees sitting around a huge U-shaped
with Hanks as an Aerosmith roadie.) table. Because there are usually bass-heavy videos played at
While I really liked the 3-band EQ on the inputs, for live use this meeting, I normally use a set of 15-inch loudspeakers for
I ascertained that I’d probably keep the box flat and make any added “thump” but this time it was up to the XP118 sub. It was
EQ adjustments on the mixer, but for installation applications, easy to move around with a hand truck, but if I added some of
the onboard EQ will come in quite handy. During this process these subs to our inventory, I’d invest in the optional wheels.
a colleague dropped by the shop for lunch, and I asked him to We placed the XP12 mains on tripod stands at each leg of the
help me unbox the XP118 subwoofer. While not unwieldy at 97 table as usual, with the sub equidistant between the two, in the
pounds, I didn’t want to cut apart the box (needed for return of middle under a video screen.
the unit) so he assisted in lifting it out. That done, we found it First we played walk-in music while the attendees filed in
easy to move the sub around via two well-placed handles on the and the quality met what I had envisioned in the shop. The
sides. Optional castors are also available, and there are already video programming was also enhanced considerably, both by
threaded inserts on the rear to mount the wheels. (It measures the additional low end as well as the smooth, even coverage of
21.1 x 26.1 x 25.2 inches.) the entire system.

ROAD TEST
Next we traveled to a local church to put the gear through its the sound of this compact, uncomplicated rig – especially that
paces with a praise band. Here we decided to use the XP12s as the monitor sounded exactly like the main and thus he could
floor monitors for the male and female singers, and both loved accurately hear what the guests were hearing.
the way they sounded as well as delivered focused coverage to Finally, we employed the XP12s at another corporate meeting
them. The male singer also thought his voice sounded a bit where they were simply placed on stands to cover an audience
smoother than with his usual stage wedge. We didn’t need to of about 150. With presenters equipped with headset mics
rotate the horns for this application, but I liked the fact that I serving as the primary content, very little EQ was required to
could do it easily if needed. The built-in angle worked well for get a natural (perhaps “comfortable” is an even better term)
the vocalists, but I suggest that future iterations of this box be spoken-voice signature from the loudspeakers.
outfitted with a second (different pitch) angle to choose from The Martin Audio BlacklineX active series hits all the marks.
for additional flexibility. Sonic quality. Plenty of volume and always more to spare. Ver-
After that we set up the XP12s with the XP118 sub to serve satility to meet a range of applications from small gatherings
as a main system for the entire band. The output and coverage to several hundred, and for stage monitoring as well. Easy
were both quite impressive and easily filled what is a relatively to transport and set up. Aesthetically attractive. A menu of
large indoor space. presets and further options that’s simple to use. Bluetooth.
Anyone looking for these attributes in a compact system should
KEEPING THE PACE definitely take note. LSI
This was followed by what I consider a “perfect test” for Blackline XP15: $1,200; XP12: $1,000; XP118: $1,300
X – a gig featuring a male guitarist/vocalist playing with tracks
for a cocktail hour in a “pre-function space” (we used to call them Craig Leerman has worked in a wide range of roles in professional
hallways) before a reception. Obviously, the space was long and audio for more than 30 years in a dynamic career that encompasses
narrow, so we only needed a single X12 and the sub posted next touring, theater, live televised broadcast events and even concerts at the
to the small stage at the end of the area to deliver full coverage. White House. Currently he owns and operates Tech Works, a regional
The other XP12 served as the performer’s monitor who loved production company that focuses on corporate events based in Reno.
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LSI-Newsletter-Half-2019.indd 1 2/1/19 11:19 AM

In Focus
EDUCATION FOUNDATION
Two takes on SynAudCon
50-level and 200-level online
courses. by Michael Lawrence &
Hannah Goodine
F
ounded in 1973 by Don and Carolyn Davis, Synergetic
Audio Concepts (SynAudCon) has long set the indus- SynAudCon online courses provide a convenient gate-
try standard for quality audio engineering education. way to audio education.
SynAudCon audio seminars remain among the most highly
respected educational opportunities for interested folks on all In reality, however, I cannot say with certainty that I have
levels from beginner to highly advanced. ever encountered a sound system in the field that had its gain
With Pat and Brenda Brown at the helm since 1995, Syn- structure set 100 percent correctly from start to finish. This stuff
AudCon has continued to expand their educational offerings, ranks high on the list of “things that need fixing” and so I think
including the industry’s first general online training program. it’s safe to say these topics rank among the most important for
Today, SynAudCon offers a series of six online courses, covering folks in our line of work, and even for those who have a solid
topics across a range of disciplines and levels, from the basic grasp of the concept, a refresher is always justified.
“How Sound Systems Work” through the advanced “Sound The video demonstrations, which come at the conclusion of
Reinforcement for Designers.” Two more courses on equalization the lesson sections, are worth the price of admission alone. Pat
are also slated for release in May 2020. demonstrates a handy trick for quickly determining a system’s gain
Note that this training is approved for AVIXA renewal units, structure using nothing but a piezo tweeter, and his demonstration
CEDIA continuing education units, and meets Professional of the “hidden” gain stages in an analog mixer should be required
Engineers continuing education requirements, making the viewing for everyone in our field – not a statement I make lightly.
investment even better for folks who also wish to maintain There’s also a wonderful .wav file that can be used to demys-
their certifications. tify the meter ballistics of the equipment you’re working with,
along with yet another video demonstration showing its use. The
MICHAEL’S OBSERVATIONS downloadable CAF viewer is an extremely handy tool to keep
Pat, Brenda, and their team have been hard at work updating and around for quickly calculating all sorts of gain structure related
expanding these offerings to incorporate more content, including values, and a welcome addition to my audio software toolkit.
Pat’s famous “hands-on demos.” In evaluating this “new and Each lesson begins with a downloadable/printable topic
improved” online learning experience, I wanted to take a look outline and summary, and then as the series of video lessons
at how the courses could benefit individuals at different points is viewed, users can leave comments and questions directly on
in their audio journey – from someone taking their very first the video page. Seeing the questions of previous viewers, along
steps to a 40-year industry veteran and everyone in between. with Pat’s responses, is a nice reassurance that help is at hand if
For that, I enlisted the help of my apprentice, Hannah Goo-
dine, an audio student finishing her junior year at the New
England School of Communications at Husson University. Han-
nah worked through the 50-level “How Sound Systems Work”
class on her own, and then we sat down and went through the
200-level “Audio Applications – Signal Chain Optimization”
together.
Before she shares her thoughts, allow me to share mine. The
200-level course is a complete journey through system gain
structure optimization, starting within the mixer itself, all the
way through DSP, amplifiers and loudspeakers. Strong is the
temptation to graze over this stuff. “Gain structure? I know all The 50-level class “How Systems Work” provides a solid founda-
about gain structure.” tion of knowledge.

IN FOCUS
you are confused about something or require clarification. Each

lesson concludes with a quiz to check your understanding. Now
for Hannah’s impressions on the training courses.
HANNAH’S OBSERVATIONS
The 50-level class “How Systems Work” gives a solid foundation of
knowledge for anyone just starting in audio, or someone who wants
to further understand the concepts behind a sound system. The
class covers signal types, hooking up the system, and even touches The 200-level “Audio Applications – Signal Chain Optimization”
upon common issues within systems. Although I had familiarity offers a journey through proper system gain structure.
with these topics from my formal studies, hearing them explained
in a different way deepened my understanding and added context. The 200-level course helped my understanding of gain struc-
The 50-level course includes nine lessons, each broken into ture throughout audio systems. More specifically, I now have
multiple videos. Most videos are ten minutes or less in length, the knowledge to interpret amplifier power ratings, which I
which we felt was a comfortable length to establish the new had struggled with in classes prior to taking this course. For
information without becoming overwhelming. more information about these courses, along with the others
This is especially true when watching the demonstration vid- offered by SynAudCon, head over to prosoundtraining.com. LSI
eos included in the courses. For the microphone polar pattern
demonstration, Pat created a mechanism to rotate a microphone Michael Lawrence is an independent front of house engineer and
around a point in space, while the signal that the mic picks up system tech, and he’s also the technical editor of various pro audio
from a stationary source is included in the video. Although I publications. Hannah Goodine is a freelance audio engineer and
have prior knowledge of polar patterns, hearing the effects so a student in Husson University’s NESCOM live sound program,
clearly demonstrated really helped my understanding. There where she is taught by LSI contributor Eric Ferguson. She can be
are demonstrations such as this one throughout both courses. reached at [email protected].
DIGITAL
EDITION
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LSI_DigitalEdition_QuarterPage.indd 1 2/26/19 11:45 AM
Real World Gear
CONTINUOUS INNOVATION
A range of options
with wireless
microphone
systems.
by Live Sound Staff
T
hings in RF world have thankfully
settled down following years of uncer-
tainty and change. The bottom line
at present: the remaining usable frequency
spectrum for wireless systems in the U.S. is Screenshot of Lectrosonics Wireless Designer software.
470 to 608 MHz (UHF channels 14-36), joined
by 174 to 216 MHz (VHF channels 7-13), along with additional within the audio equipment chain. Touring-class wireless is
bands that we’ll mention a bit later. likely to have the ability to be remotely monitored and con-
The corporations that acquired spectrum from 614 to 698 trolled, and with integrated AES/EBU or (Audinate) Dante,
MHz have been commencing services across the country. Once receiver outputs can offer the option of keeping the signal in
any auction winner begins testing in the 600 MHz spectrum the digital domain from the stage through the console to the
in a region, it becomes illegal to operate wireless microphone loudspeaker system.
(as well as in-ear monitoring and intercom) systems in that Some systems have also added technologies for increasing
cellular block. reliability and resistance to dropouts, transmitting the same
As a result, it’s long past time for wireless users to put alterna- signal on more than one frequency (frequency diversity) and
tive arrangements into place for all equipment operating above transmitting the same audio data in different time slots (time
608 MHz, and fortunately, all reputable wireless manufacturers diversity), with algorithms at the receiver reassembling the
have been planning for this eventuality by designing systems digital information into coherent order.
with wide tuning ranges, flexible operation, and good receiver Because the emitted signal from the transmitter is digital
filtering. Many transmitters also offer user-selectable RF power and the source audio has been converted to data, the audio can
that can be quite helpful in tailoring for high-channel-count be encrypted before it is sent – and therefore protected from
and short-distance applications. being monitored by anything other than its assigned receiver.
A lot of work has gone into efficiently using the available Security is now readily available for applications that require
spectrum, so that more wireless system channels can work it. Encryption at levels of 128-bit and 256-bit is common, and
together without interference within a particular 6 MHz tele- at least one system has upped the ante to 512-bit encryption.
vision channel or other patch of available spectrum. Key to this Attention has also been directed toward placing antennas
spectral efficiency is digital transmission of the signal between closer to the performing area where the transmitters are in
the transmitter and receiver, as digital systems can be designed use. Some of the available antenna systems are active, boost-
to offer important tradeoffs such as range, channel density and ing the received signal level before it travels to the receiver
audio fidelity. via coax cable. Directional antennas accomplish double duty,
Further, more manufacturers now offer a range of options in with increased sensitivity aimed toward the desired signals and
the VHF bands, and there are also systems available in alternate lower sensitivity at the rear to attenuate interfering RF signals
bands, including 1.8 GHz, 2.4 GHz, 5 GHz, 6 GHz, and other within their null zones.
bands as well. In general, these alternative bands are best used Several manufacturers also offer very good, and constantly
for specialized purposes because higher frequencies don’t have updated, software packages that help to manage and monitor
the same propagation characteristics as the VHF and lower wireless system performance over a network, from pre-show
UHF bands. planning through post-performance analysis. With all of this
The introduction of digital wireless has also coincided with in mind, the systems presented here in our roundup are more
a push toward digital audio networking and computer control powerful and flexible than ever before. LSI

REAL WORLD GEAR RWG Spotlight Listing
Lectrosonics D Squared | lectrosonics.com KEY SPECIFICATIONS:
The D Squared digital wireless microphone system from RF Transmission: Digital Hybrid
Lectrosonics utilizes 4th-generation digital architecture Frequency Band: UHF (470 – 608 MHz
for excellent flexibility, ultra-fast setup, studio quality for U.S.; 470 – 614 MHz for export)
audio, and ultra-low latency. The system includes the Receiver Bandwidth: 144 MHz
DSQD 4-channel digital receiver, DBu digital belt pack Frequency Agility/RF Search: Automat-
transmitter, DHu digital handheld transmitter, and DPR ic discovery & simple signal routing
digital plug-on transmitter. Features include 24-bit, 48 Diversity Scheme: Noiseless antenna
kHz digital audio, 2-way IR sync, three levels of encryp- switching
tion, and a tuning range from 470-608 MHz (470-614 MHz for export versions). Receiver Format: 4 channels in 1RU
The DSQD receiver is a four-channel, half-rack design with analog and Receiver Outputs: Dante & analog
Dante digital outputs and is compatible with the latest digital transmitters, Audio Bandwidth: 20 Hz – 20 kHz (+/-1
and backward compatible with Digital Hybrid Wireless transmitters. Three dB)
different diversity schemes are available, including antenna switching, Digital Sampling Rate: 24-bit/48 kHz
Ratio Diversity, or Digital Frequency Diversity. The transmitters offer RF power Latency: Ranges from 0.75 ms in D2
selections at 25 and 50 mW and include AES 256-CTR encryption for high level mode plus Dante to 2.5 ms in hybrid
security applications. modes
Transmitter RF Power: Variable; 25/50
TECHNOLOGY FOCUS: A headphone jack is included on the DSQD for audio mW
monitoring per channel. Ethernet and USB ports allow the receiver to Tx/Rx Communication: Via infrared
connect to Wireless Designer software for programming and monitoring, Control/Interfacing: USB, and RJ-45
and a serial port enables connection between receivers for data sharing Ethernet ports; monitor and control
and frequency coordination. with Wireless Designer software
OF NOTE: Antenna bias power can be engaged in the menu, and front panel
LEDs show the status. Each DSQD ships with half the rack hardware needed
to mount two units together, yielding 8 channels in 1RU.
Shure Axient Digital Sennheiser Digital 6000

shure.com sennheiser.com
RF Transmission: Digital RF Transmission: Digital

Frequency Bands: 470 – 960 MHz (varies by region) Frequency Band: UHF, 470 – 714 MHz
Receiver Bandwidth: Up to 184 MHz Receiver Bandwidth: 244 MHz
Frequency Agility/RF Search: Agile; scanning Frequency Agility/RF Search: Agile; scanning and spectrum
Diversity Scheme: True digital diversity analyzer function
Receiver Format: Dual- and quad-channel (both 1RU) Diversity Scheme: True Bit Diversity
Receiver Outputs: Receiver Format: 1RU/2-channel
Analog, Dante or Receiver Outputs: Analog, AES digital, Dante version also available
AES3 digital audio Audio Bandwidth: 30 Hz – 20 kHz (+/-1.5 dB)
Audio Bandwidth: Sampling Rate: 24-bit/variable 44, 48, 88, 96 kHz
20 Hz – 20 kHz Latency: 3 ms
Sampling Rate: Transmitter (SKM
24-bit/48 kHz 6000 HH) RF Power:
Latency: 2.0 ms 25 mW (RMS), 50 mW
(standard mode) (peak)
Transmitter RF Power: Variable, 2/10/35 mW Tx/Rx Communica-
Tx/Rx Communication: IR sync tion: IR sync
Control/Interfacing: Networked control with Wireless Workbench Control/Interfacing:
and ShurePlus Channels iOS app; ShowLink remote control Ethernet with WSM software
Of Note: Front panel headphone jack enables Dante Cue and Of Note: New Link Density (LD) Mode doubles the number
Browse monitoring; configurable Ethernet switch for redundant of possible channels; long-range mode (LR mode) enhances
Dante or AES67 digital output; DC module version available to quality; AES 256-bit encryption; receiver includes secondary
support redundant power. Dante port.

RWG Spotlight Listing
MIPRO ACT-848 | mipro.com.tw
The ACT-848 is a quad-channel UHF wideband digital wireless microphone system
equipped with a new VFD screen, monitor headphone jack, a rotary control knob and
buttons on the control panel. In addition, there’s an AES/EBU digital output and option-
al Dante or AVB interface on the rear panel.
A new circuit design provides a full bandwidth of 72 MHz for exceptional range as
well as dramatically increasing the number of interference-free compatible channels.
Proprietary 256-bit encryption prevents unauthorized listening. MIPRO’s exclusive Auto
Scan and ACT function provides the
transmitter’s frequency with precise KEY SPECIFICATIONS:
and rapid sync to the receiver. RF Transmission: Digital
There are seven preset groups with a total of 224 pre-saved channels. Frequency Band: 482 – 554 MHz
Group 1 & 2 each allows 16 channels of interference-free operation Receiver Bandwidth: 72 MHz
without any restriction. Group 3 to 6 each allows 48 channels of interfer- Frequency Agility/RF Search: AutoScan scanning
ence-free operation with restriction (Tx apart from Rx at least 5 m; be- Diversity Scheme: Digital diversity
tween Tx & Tx at least 30 cm). Group 7 user-defined group allows users Receiver Format: Single- (1/2 RU), dual- and
to choose and save up to 16 channels from 2,881 available frequencies. quad-channel (both 1 RU)
Receiver Outputs: Analog , AES EBU and Dante
TECHNOLOGY FOCUS: Each channel has separate AF signal digital
output and presets the output level equal to the sensitivity of the Audio Bandwidth: 20 Hz – 20 kHz
microphone capsule. In addition, proprietary DSP audio processor Sampling Rate: 24-bit/44.1
and A/D conversion are designed to deliver sonic quality equal to kHz
a wired system. Optional MIPRO RCS2.Net software allows real-time Latency: < 2.7 ms
network remote-controlling and monitoring of up to 64 channels. Transmitter RF Power:
Variable, 10/50 mW
OF NOTE: ACT-848 receivers are also compatible with both the TA-80
Tx/Rx Communication:
plug-on transmitter and MM-100 measurement microphone to form
ACT Sync
a true digital wireless optimization tool.
Audio-Technica 3000 Series (Fourth Generation) Audix Performance Series

audio-technica.com audixusa.com
RF Transmission: Analog RF Transmission: Analog

Frequency Band: 470 – 530 MHz and 530 – 590 MHz Frequency Band: UHF, 522 MHz – 586 MHz (R61/62 receivers)
Receiver Bandwidth: 25 MHz (minimum) Receiver Bandwidth: 64 MHz (R61/62)
Frequency Agility/RF Search: Auto scan and sync Frequency Agility/RF Search: Auto scan and sync of 207 pre-co-
Diversity Scheme: Dual-conversion true diversity ordinated frequencies
Receiver Diversity Scheme:
Format: Dual tuner, true
1/2RU diversity
1-channel Receiver Format:
Receiver 1/2RU 1-channel,
Outputs: 1RU 2-channel
Analog (bal- Receiver Outputs:
anced XLR; Analog (XLR & 1/4-
unbalanced inch)
1/4-inch) Audio Bandwidth: 45 Hz – 18 kHz
Audio Bandwidth: 25 Hz–16.7 kHz (with handheld transmitter) Sampling Rate: N/A
Transmitter RF Power: 10/30 mW Transmitter RF Power: Variable, 10 and 40 mW
Tx/Rx Communication: Pilot tone Tx/Rx Communication: Pilot tone
Of Note: Multifunction button on transmitters can be used to Control/Interfacing: N/A
switch to backup frequency; dual-mode receiver display can Of Note: Modular interchangeable capsules for OM Series and
switch between standard view or performance view that high- VX5 vocal mics with HH; 16 systems (conservatively) can be
lights key metering; handheld transmitter works with six inter- used simultaneously; 2,560 individual frequencies available for
changeable A-T mic capsules and other compatible capsules. manual tuning.

REAL WORLD GEAR RWG Spotlight Listing
Electro-Voice RE3 | electrovoice.com
The RE3 is a UHF wireless microphone system engineered for sound quality, wireless flexibility
and overall ease of use in alignment with the latest RF regulations. The RE3’s user-friendly tech-
nology and roadworthy construction extend the reputation of its predecessor the RE2.
RE3 receivers and transmitters are available in 10 pre-packaged sets, configured to cover a
wide range of performance and presentation applications. Sets contain one 1/2-rack-space di-
versity receiver with antennas, universal power supply, rack mount kit, transmitter, batteries and
an input device.
Additionally, the RE3 portfolio contains a KEY SPECIFICATIONS:
comprehensive assortment of accessories RF Transmission: Analog
to aid in the creation of large, multi-channel systems. The RE3’s UHF Frequency Band: UHF
design with clear frequency scanning makes multi-system wireless op- (488 – 524 MHz, 560 – 596
eration fast and simple. All RE3 transmitters offer excellent battery life MHz, other bands avail-
and run on regular alkaline or rechargeable AA cells. able including 653 – 663
duplex gap)
TECHNOLOGY FOCUS: The RE3 operates on three bandwidths for the Receiver Bandwidth: 36
North American market, including two 36 MHz-wide bands in the low MHz (1,400 selectable
and high 500 MHz spectrum, as well as one strategically chosen to frequencies) for 488 – 524 MHz and 560-590
operate within the 600 MHz duplex gap which the FCC has dedicated MHz
for wireless microphone use. Additional bands are also available for Frequency Agility/RF Search: Frequency scan
use in Europe and Asia, in the 600 MHz and 800 MHz ranges. & sync
Diversity Scheme: True diversity
OF NOTE: Five handheld system sets are available with a choice of
Receiver Format: Half-rack/1-channel
interchangeable mic capsules: ND76, ND86, ND96 (dynamic) as well as
RE420 and RE520 (condenser). In addition, five bodypack system sets Receiver Outputs: Analog
are available for instrument and lavalier/headworn microphone ap- Audio Bandwidth: 51 Hz – 16 kHz (handheld);
plications: OL3, CL3 (lavalier), HW3 (headworn), GC3 (instrument cable) 63 Hz – 16 kHz (bodypack, both +/-2 dB)
and one bodypack-only system. Transmitter RF Power: Variable, 10/50 mW
JTS UF-20 LD Systems U508 HHC 2

jts.com.tw ld-systems.com
RF Transmission: RF Transmission: Analog

Analog Frequency Band: UHF, 584 – 608 MHz (other bands also offered
Frequency Band: in 500 Series)
UHF, various bands Receiver Bandwidth: N/A
from 470 – 960 MHz Frequency Agility/RF Search: Auto scan function
(530 – 605 MHz in Diversity Scheme: True diversity
U.S.) Receiver Format: 1RU/2-channel
Receiver Band- Receiver Outputs:
width: 75 MHz Analog (XLR, TRS
Frequency Agility/RF Search: Agile with scanning capabilities and switchable
Diversity Scheme: True Diversity line/instrument)
Receiver Format: Half-rack/1-channel Audio Bandwidth:
Receiver Outputs: Analog 60 Hz – 16 kHz
Audio Bandwidth: 50 Hz – 18 kHz Transmitter RF
Sampling Rate: N/A Power: 2/10/30 mW
Latency: N/A Tx/Rx Communication: IR sync
Transmitter RF Power: Variable, 10 mW/50 mW Control/Interfacing: High-contrast OLED displays on receiver
Tx/Rx Communication: REMOSET ID Pairing and transmitter
Control/Interfacing: N/A Of Note: Choice of several dynamic and condenser mic capsules
Of Note: Antenna cascading across up to 10 receivers; inter- with handheld transmitters; 500 Series also offers versions with
changeable microphone capsules; communication of transmit- bodypack transmitters and a conferencing system; pilot tone
ter status includes RF power, sensitivity setting, low-cut filter prevents noise from interfering signals; provided with rugged
setting, and user name. transport case.

AKG DMS800 beyerdynamic TG 1000
akg.com north-america.beyerdynamic.com

Frequency Band: Frequency Band: UHF (470 – 789 MHz; available at 470 – 698 MHz)
UHF (Various
Receiver Bandwidth: 319 MHz
bands ranging
Frequency Agility/RF Search: Agile; scanning
between 548 –
832 MHz) Diversity Scheme: True diversity
Receiver Band- Receiver Format:
width: 150 MHz 1RU/2-channel
Frequency Agil- Receiver Outputs:
ity/RF Search: Analog
Agile; scan and Audio Bandwidth:
spectrum analyzer functions 20 Hz – 20 kHz
Diversity Scheme: True diversity Sampling Rate: 24-
Receiver Format: 1RU/2-channel bit/44 kHz
Receiver Outputs: Analog; Dante and AES/EBU digital Latency: < 2.1 ms
Audio Bandwidth: 25 Hz – 20 kHz (+/-3 dB)
Transmitter RF Power: Variable, 10/50 mW
Sampling Rate: 24-bit/44 kHz
Tx/Rx Communication: IR sync
Latency: < 4 ms
Control/Interfacing: IP-based control using Chameleon soft-
Transmitter RF Power: Variable, 10/20/30/50 mW
ware; control via computer, tablet, smart phone
Tx/Rx Communication: IR sync
Of Note: 512-bit encryption; Dante and AES/EBU digital outputs; Of Note: Switchable encryption; antenna cascading through 12
optional network remote control for frequency coordination and receivers; company also offers the Opus 910 Series with receiv-
multi-channel system monitoring; available in sets customized er chassis housing one, two, and four channels depending on
for vocalists and performers. model.
CAD Audio CADLive 3000 Series Line 6 XD-V75

cadaudio.com line6.com
RF Transmission: Analog RF Transmission: Digital

Frequency Band: UHF (580 – 600 MHz, 655 – 679 MHz) Frequency Band: 2.4 GHz
Receiver Bandwidth: 44 MHz Receiver Bandwidth: 75 MHz
Frequency Agility/RF Search: Agile; proprietary ScanLink to Frequency Agility/RF Search: Agile; Scanning
select optimum channel Diversity Scheme: Frequency diversity; space diversity
Diversity Scheme: True diversity Receiver Format:
Receiver Format: Half- Half-rack/1-channel
rack/1-channel Receiver Outputs:
Receiver Outputs: Analog Analog
Audio Bandwidth: 40 Hz Audio Bandwidth: 10
– 15 kHz Hz – 20 kHz (-2.5 dB)
Sampling Rate: N/A Sampling Rate: 24-
Latency: N/A bit/44 kHz
Transmitter RF Power: Latency: < 2.9 ms
Variable 10/30/50 mW Transmitter RF Power: Variable, 3.3/10 mW
Tx/Rx Communication: N/A Tx/Rx Communication: IR sync
Control Interfacing: N/A Control/Interfacing: N/A
Of Note: Proprietary CADLock helps eliminate unauthorized Of Note: EQ and mic capsule modeling; encrypted transmission;
transmissions in signal path; HH outfitted with D90 supercardi- select from up to 14 channels; compatible with many other
oid dynamic capsule; bodypack transmitters include Equitek E19 components making it feasible to combine handhelds, lavaliers,
earworn and E29 lavalier mics. headsets and instruments within same system.

REAL WORLD GEAR
Sony DWX Series MIPRO ACT-5814A
pro.sony.com mipro.com.tw

Frequency Band: UHF (three bands between 470 – 698 MHz)
Frequency Band: 5.8 GHz
Receiver Bandwidth: 72 MHz
Receiver Bandwidth: 125
Frequency Agility/RF Search: Agile; scan and spectrum analyzer MHz (5,725 – 5,850 MHz)
function
Frequency Agility/RF
Diversity Scheme: True diversity
Search: Manually
Receiver Format: 1RU/2-channel
Diversity Scheme: Dual-tuner true diversity receiving
Receiver Outputs: Analog; AES3 digital
Receiver Format: Quad channel (1 RU)
Audio Bandwidth: 20 Hz – 22 kHz
Sampling Rate: Receiver Outputs: Analog
24-bit/48 kHz Audio Bandwidth: 18 Hz – 23 kHz
Latency: < 3.4 ms Sampling Rate: 24-bit/48 kHz
Transmitter RF
Latency: < 1.7 ms
Power: Variable,
1/10/50 mW Transmitter RF Power: 20 mW for both handheld and bodypack
Tx/Rx Communi- (country dependent)
cation: 2.4 GHz bi-directional link Tx/Rx Communication: ACT Sync
Control/Interfacing: Ethernet with Wireless Studio 3.0 software Of Note: Built-in high-efficiency antenna and graphic OLED
Of Note: Proprietary encryption; transmitter “sleep” mode; screen providing large field of view without a blind angle; 12
thread-on capsules on HH; ENG-format receiver available. channels in Group A and 24 channels in Group B1 and B2.
Lectrosonics Venue 2 Shure ULX-D

lectrosonics.com shure.com
RF Transmission: Digital Hybrid RF Transmission: Digital

Frequency Band: UHF (multiple bands between 470 – 691 MHz) Frequency Bands: UHF, several bands between 470 – 932 MHz;
Receiver Bandwidth: 75 MHz VHF, 174-216 MHz
Frequency Agility/RF Search: Agile; scan and spectrum analyzer Receiver Bandwidth: UHF, 64 MHz; VHF, 42 MHz
mode Frequency Agility/RF Search: Agile; scanning
Diversity Scheme: Antenna phase switching or ratio true diversity Diversity Scheme: Predictive switching diversity
Receiver Format: 1RU master unit with up to 6 channel modules Receiver Format: Single-channel (half-rack), dual- and
Receiver Outputs: Analog quad-channel (1RU)
Audio Bandwidth: 40 Receiver Outputs: Analog; Dante digital audio (dual- and
Hz – 20 kHz (+/-1 dB) quad-channel)
Sampling Rate: 24- Audio Bandwidth: 20
bit/88 kHz Hz – 20 kHz (+/-1 dB)
Latency: < 3.0 ms Sampling Rate: 24-
Transmitter RF bit/48 kHz
Power: Variable; Latency: < 2.9 ms
20/50/100/250 mW, Transmitter RF Power:
depending on transmitter Variable, 1/10/20 mW
Tx/Rx Communication: Via infrared Tx/Rx Communica-
Control/Interfacing: RS-232, USB, and RJ-45 Ethernet ports; tion: IR sync
monitor and control with Wireless Designer software Control/Interfacing: Ethernet networking with Wireless Work-
Of Note: Modular design with up to six receiver modules per bench software; AMX/Crestron control
chassis; internal wideband antenna multicoupler with loop- Of Note: AES 256-bit encryption; high-density mode for up to 47
through; DSP emulation modes for compatibility with analog channels in 6 MHz of spectrum; now also available in VHF version,
wireless systems in addition to Digital Hybrid mode. with several VHF-ready accessories (i.e., antennas) also offered.

Loading Dock PRODUCTS FRESH OFF THE TRUCK
Allen & Heath V1.5 Waves Content Creator Audio Toolkit

The latest firmware for the company’s 96 kHz A bundle for podcasters, YouTubers and creators of live-streamed con-
SQ Series mixers includes new RTA options, tent that’s comprised of several plugins,
32-channel recording/playback on USB drives and including the new Waves Playlist Rider
workflow enhance- plugin designed to provide “set-and-forget”
ments such as DCA volume management plugin to help balance
spills and new FX the volume of multiple sources (host, guest,
add-ons. Specifically, music playlist, audio clips), automatically
the upgrade offers and in real time. Playlist Rider can also be
independent RTA useful for live sound engineers and pro
for per channel use. audio tech personnel who want to automatically balance program sources (DJ
Meters RTA supplies PAFL or fixed source, stereo background music, YouTube, Smartphone, VTR, etc.) before or after live shows
31-band or mono 61-band modes, display and and during corporate events. It runs in most major audio and video editing
averaging options, max/peak indication (with software as well as in Waves’ eMotion LV1 live mixer and SuperRack plugin
“hold” possible), prominent frequency indication host. Additional plugins in the bundle are the NS1 Automatic Noise Suppres-
and an LF damping option. Channel RTA provides sor, Greg Wells VoiceCentric, and WLM Plus Loudness Meter. waves.com
display on PEQ and GEQ processing screens, the
ability to follow selection on the console, an Alcons Audio QB242
SQ-MixPad or both, a fixed channel option, auto A subwoofer for both permanent and (limited) porta-
leveling showing useful information, display and ble applications designed as a scalable low-frequency
averaging options, max/peak indication and more. extension (LFE) to QR24 line-source column loudspeak-
New workflow options for DCA-centric mixing in- ers or as an arrayable LFE with any of the company’s
clude the option to instantly “spill” DCA members pro-ribbon systems. The QB242 can be stacked or flown
across channel strips and layers as well as to in multiples, and the controlled (cylindrical) projec-
jump in and out of DCA spill for a faster workflow, tion of the QR24 can be extended down to the lower
an on-screen spill indication, and SoftKey options frequencies by enlarging the LFE array length through
for individual DCAs. In addition, there are more adding extra QB242 modules. The lowest usable frequency of one single ele-
SQ-Drive channels, with sample rate conversion ment is stated as 35 Hz. The two direct-radiating 12-inch neodymium woofers
added for both USB connections. allen-heath.com are mounted in a vented chamber with large bass reflex ports for enhanced
“breathing” capacity, intended to increase overall output while minimizing
port-compression. The integrated mounting hardware is designed to facilitate
quick and easy coupling with other QB242 modules. alconsaudio.com
Attero Tech by QSC A8Mio & A4Mio

Ashly Audio mXa-1502 Two networked Axon AES67 audio
An integrated mixer-amplifier that provides four I/O endpoints, including the A8Mio
zones of mixing and DSP, two 150-watt amplifiers, (8-channel) and A4Mio (4-channel)
and programmable mic preamps in a rack-mount- that interoperable and integrate
able unit. It’s also the first product that works analog mic/line sources into a
in tandem with the company’s new AquaControl range of network audio applica-
software. On the mXa-1502, the control layer tions, including the Q-SYS Ecosys-
provides a complement of DSP, including routing, tem. The Axon endpoints are Power over Ethernet (PoE) capable, offering a
auto-mixing, ducking, amplifier monitoring, event single-cable installation in a 1/2-RU (A8Mio) or 1/3-RU (A4Mio) form factor
scheduling and triggering. ashly.com with surface-mount or rack-mount capabilities. qsc.com/systems/attero-tech
Studio Technologies Model 5421

A Dante Audio-over-IP (AoIP) party-line intercom for up to 16 users that incorporates
an intercom-specific Auto Mix algorithm designed to optimize party-line audio qual-
ity and reduce ambient interference from open microphones. The 1/2-rack enclosure
is intended for use with Studio Technologies 370-series Dante-enabled intercom
beltpacks. It’s AES67 and Dante Domain Manger compatible, with a Power-over-Ethernet (PoE) approach that uses a standard Ether-
net local-area-network (LAN). It requires a single RJ45 Ethernet connection for both data and power, with set-up via Studio Technolo-
gies STController software. The Model 5421 is compatible with all Dante-compatible intercom beltpacks. studio-tech.com

Back Page
WATCH OUT FOR THAT CURVE!

Staying on the We were having a grand
old time when all of a sudden
path of continual he yelled out, “Watch out for
that curve!” and suddenly our
learning & joy ride turned into a not-so-
happy trip through someone’s
improvement. cornfield. Thankfully, no real
damage was done other than
by Brian Maddox the loss of a few stalks of corn
and the tow bill to drag the car
out of the mud. And of course,
I
remember when I was a fasci- the blow to my pride.
nated kid watching my stepdad Now, I already know what
drive our old Volkswagen Square- you’re saying: cool story, but
back, with its classic all-manual steer- why the trip down memory lane – and – I’ll also never forget how quickly my con-
ing and brakes, and of course, a good what does it have to do with anything? fidence was replaced by abject terror as the
old-fashioned manual transmission. Well, glad you asked… reality of how little I actually knew hit me
At first I didn’t understand how anyone In audio, we talk about “curves” – EQ square in the face. In short, I walked into
could manage three pedals on the floor, curves, crossover curves, Fletcher-Mun- that theater standing tall on top of Mt. Stu-
a steering wheel, a gearshift, turn-signal son curves, and so on. But there’s another pid and that very first gig shoved me right
controls and all kinds of other assorted curve we don’t talk about nearly enough off the cliff into the Valley Of Despair. It
knobs and buttons. that’s commonly known as the Dun- was truly humbling, but also the best expe-
But being an inquisitive kid, I found a ning-Kruger effect. rience of my professional life as it started
book at the library (no Google in those My driving example illustrates this well, me on the journey of truly learning and
days…) that explained how cars work and because it almost perfectly mirrors my growing that I still find myself pursuing
what all those controls did. Then, after a progression as an audio tech. I likely spent almost three decades later.
few hundred hours of watching other peo- thousands of hours in my teens and early When it comes to actually fully under-
ple drive, I started to at least somewhat 20s obsessively poring over every book standing all the psychology behind the
understand what was going on. and magazine that even remotely had any- Dunning-Kruger effect, I admit that I’m still
Of course, then it came time to do it thing to do with audio. I “practiced” what I pretty close to the peak of Mt. Stupid. How-
myself. And it turned out that you didn’t learned on anything I could get my hands ever, I’ve seen various versions of this same
just poke all those pedals up and down. on. Which also means spending more than “curve” play out among audio techs time
No, there was a whole different level to this a few hours fixing things that I’d gotten and time again, and I know I wish someone
thing. There was a nuance to releasing the to release “the magic smoke” (which I had shared this tidbit of wisdom when I
clutch just right while pressing the gas pedal suppose was its own form of education). was on top of Mt. Stupid. It might have
just so. And then you had to learn how to do By my mid 20s I felt like I had a pretty saved me a lot of embarrassment later on.
it all super fast when going uphill. good grasp of “all things audio.” I’d put Remember: when we think we’ve “got
Of course, I eventually figured it all out together dozens of different sound sys- this” and have finally peaked in our
and got pretty good at it, if I do say so tems, I’d mixed at least a hundred differ- skills and abilities, be careful. That peak
myself. Good enough, in fact, for the DMV ent events. I’d even held a job training we’re standing on may be at the top of
to give me a license. I used my newfound others to run sound systems. the wrong mountain. And don’t forget:
“freedom license” as often as I could. And then through a remarkable set “Watch out for that curve!” LSI
One day a buddy and I were driving of circumstances I won’t bore you with,
around when he told me to take a “short- I found myself working for a real “pro” Over a 30-year career, Brian Maddox has
cut” that “would be a lot more fun.” And sound reinforcement company. I’ll never worked with everybody from U.S. Presidents
before you could say “16-year-olds should forget how excited I was for that first gig to Patti LaBelle to The Pope. Specializing in
not be driving 4,000-pound vehicles,” I was with an “A-List Artist You’ve Heard Of” corporate events, he’s currently active as a
flying down a back road at a youth-inspired and how eager I was to show everybody freelance A1, RF coordinator, and comms
(and therefore excessive) speed. what I could do. tech. Reach him via LinkedIn.

SOUND
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Miles Davis, Paul Simon & co-founder Hartke Systems
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the mono imaging with a wide stereo spread is phenomenal”
Steve Remote, AuraSonic
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BUILT.
Come see for yourself. The S-Series.

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design means you can deliver unparalleled
sonic performance and power to your audience.

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

ANYTHING BUT MAKING A LARGE VIRTUAL CHOIR INTO A

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