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The standards stay, but innovation never ends.

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6/662 AUGUST 2015 • fohonline.com

32 Production Profile: Chicago and Earth Wind & Fire Two multi-member bands raise the art and technology ofco-headlining to new heights.

40 Production Profile: Grateful DeadFor the band’s “Fare Thee Well” mini-tour, Pro Media/Ultra-Sound, FOH engineer Derek Featherstone and crew redenethe notion of the stadium tour with a surround sound mix.

42 Installations: Carnegie & The Apollo Two recent John Mellencamp shows reveal the nuanceswithin two iconic NYC venues.

44 Buyer Guide: Vocal Condenser Mics

Top-of-the-line handheld microphones noted for extendedtop-end response, detail and denition.

46 Tech Feature: Compression Drivers, ExposedPhil Graham looks into compression drivers.

48 Company 411: Sommer Cable This German company recently inaugurated a U.S. facility andis looking into a f uture that goes well beyond cable.

50 Theater Sound: The Lion King in MexicoSound designer Hugh Sweeney brings this Broadway hit tothe Telcel Theatre in Mexico City.

52 Road Test: CADLive D89 & D90 MicsDoes the world need another dynamic handheld and instru-

ment probe mic? JJ Jenkins puts CAD Audio’s new agshipentries to the test.

53 Road Test: Telefunken M60 FET MicsFRONT of HOUSE checks out this versatile small-diaphragmcondenser mic system, which features interchangeable cap-sules and a number of surprises for live audio users.

54 On the Digital Edge: One of Those DaysEven when you’re on James Taylor’s hugely successful tour,sometimes things just don’t go right, as David Morgan ndsout.

56 The Biz: Big Weekend in NashvilleMore than 100,000 people descended on Nashville in June,with the Rolling Stones completing their shows as the CMAMusic Festival and Bonnaroo set up camp.

57 Theory & Practice: Pardon The DelaySteve La Cerra offers some understanding into the categoryof echo and time-based effects used in sound reinforcementmixes.

58 Sound Sanctuary: Easy Acoustic FixesVincent Lepore delves into the topic of dealing with badacoustics in the church environment, with some suggestionsfor quick and affordable remedies.

60 FOH at Large: The Grumpy Engineer?Baker Lee wonders whether it’s true that sound reinforce-ment really is the grumpiest profession and comes up with afew answers…

.

4 Editor’s Note

5 Industry News

20 Global News

24 On the Move

26 New Gear

28 Showtime

fohonline.com

Vol. 13.11

AUGUST

2015

ColumnsFeatures

36

FESTIVAL SPOTLIGHT:

ELECTRIC DAISY

CARNIVAL

The BassPOD stage atEDC Las Vegas putsPK Sound’s latesttechnology to the test.

38

CONTENTS

PRODUCTION

PROFILE: MORRISSEY

Moz and Thunder Audiosweep the States withthe World Peace Is NoneOf Your Business tour.

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FRONT Of HOUSE (ISSN 1549-831X) Volume 13, Number 11, August 2015, is published monthly by Timeless Communications Corp., 6000 South EasternAve., Suite 14J, Las Vegas, NV, 89119. Periodicals Postage Paid at Las Vegas, NV and additional mailing offices. POSTMASTER : Send al l UAA to C FS.

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EDITOR’SNOTE

President Terry Lowe

[email protected]

Group Publisher Greg Gallardo

[email protected]

Editor George Petersen

[email protected]

Managing Editor Frank Hammel

[email protected]

Art Director Garret Petrov

[email protected]

Production Mike Street

Manager [email protected]

Production Angela Marlett

Artist [email protected]

Senior Kevin M. Mitchell

Staff Writer [email protected]

Technical Phil Graham

Editor [email protected]

Contributing Dan Daley, JJ Jenkins,

Writers Steve LaCerra, Baker Lee,

Vincent Lepore, David Morgan

Web Master Josh Harris

[email protected]

Sales Manager Matt Huber

[email protected]

Sales Manager Mike Devine

[email protected]

Greater China Judy Wang

Worldwide C: 0086-13810325171

Focus Media [email protected]

Office Erin Schroeder

Administrator [email protected]

Vice President William Hamilton Vanyo

[email protected]

Ideas & Innovations

By

GeorgePetersen

Catch George’s editorial commentary at fohonline.com/ foh-tv or click on the picture from your digital edition.

It’s hard to believe,

but the 2015 Par-

nelli Awards sea-

son is almost upon us.

So far, FRONT of HOUSE readers have al-

ready stepped up to select the nalists vying

for the top regional sound company honor

— the Hometown Hero Award. These in-

clude DBS Audio (Coatesville, PA), Mid-Coast

Sound (Nashville), Clearwing Productions

(Milwaukee), Spider Ranch Productions

(South San Francisco), Onstage Systems

(Dallas) and Toronto’s Sound Art. Congratu-

lations to all!

Next up, readers have until the end of this

month to nominate their choices in other Par-

nelli Awards categories, including the best

FOH Mixer, Monitor Mixer, Sound Company,

System Tech and more, along with awards

honoring companies involved in Lighting,

Staging, Set Construction, Video, Rigging,

Pyro, Trucking and Freight Forwarding.

Nominations are gathered until Aug. 31

(go to parnelliawards.com/nominate), and

voting for the 2015 Parnelli Awards will pro-ceed through the month of September. The

nal votes are tallied in early October. The

Parnelli Awards will be presented Oct. 24 at

the Rio Hotel & Casino in Las Vegas.

ii Work, Adapt, Succeed!

From the outside, it may look like the

award nods always go to the biggest, splash-

iest companies, but if truth be told, that’s not

the way it works in real life. In fact, more often

that not in the production industry, innova-

tion typically stems from how fast someone

can work and adapt to unexpected challeng-

es that suddenly crop up. Sound reinforce-

ment typically carries a certain element of lo-

gistics, and getting the right gear from Point

A to Point B. Deliveries don’t always happen

on time — sometimes due to “acts of God,”

such as weather, UPS delays and bus strikes.

Based on the number of freakish weather in-

cidents, thunderstorms, extreme winds and

more than a ood or two that we’ve reported

on lately, this trend is on the rise.

In dealing with life’s little calamities, wheth-

er a monitor engineer with the u or a truck

with a broken axle, making sure the show goes

on in spite of these hitches is what separates

the pros from the wannabes. And the real pros

have the ability to pull it off without the au-

dience or fans being aware of the chaos thatexists backstage. That’s innovation, because

if everything always ran smoothly and condi-

tions like RF problems, crappy venue acoustics,

food poisoning (or just bad roadhouse food),

transportation and equipment failures didn’t

exist, then our jobs would be a lot easier, and

practically anyone could do them.

ii Outfoxing Mr. Murphy

Of course, the really smart professionals

know that Murphy’s law can — and will —

strike at the most i nopportune moments. For

a good example of this, see David Morgan’s

column, “On the Digital Edge,” on page 54.

Let’s face it, “stuff” happens, and if it can strike

Mr. Morgan and his well-oiled crew of top-

notch veterans on the J ames Taylor tour, then

certainly anyone is susceptible.

In fact, real pros actually plan for all sorts of

contingencies, which can range from simply

packing an extra mic and cable when you’re

doing a city council meeting with a Fender

Passport rig to spec’ing an extra console on

a major tour. The latter may not go over well

with the tour accountant, but if it’s needed,

that item suddenly becomes “priceless,” and is

way better than issuing rainchecks or refunds

to a packed venue.

In such situations, overkill can also existas well. I’m sure having some SCUBA gear on

the backseat of my car would denitely come

in handy the next time I accidentall y drive off

a bridge. Unfortunately, there’s a tradeoff

here where you need to weigh the hassle of

carrying that tank around versus the unlikely

event of a “water landing.” At the same time,

on an out-of-town show, I might sleep better

at night knowing a spare outboard console

power supply is readily available.

Sometimes innovation springs forth simply

from a little communication and cooperation.

This is exemplied in this month’s Produc-

tion Prole ( page 32) on the “Heart and Soul”

co-headlining tour featuring Chicago and

Earth, Wind & Fire. The bands have a lot ofplayers and a lot of wireless. These days, any

RF operations require a lot of coordination, es-

pecially during the tour’s opening and closing

numbers, which feature all of the band mem-

bers onstage together, making for 47 active

channels of RF (mics and IEM’s) happening si-

multaneously. And during these numbers, the

two FOH engineers also need to work as a sin-

gle unit to make everything seamless to the

audience, who are just watching a great show,

unaware of the complexity they’re witnessing.

In this case, planning is everything.

ii Do Your Part!

But innovation exists in all forms, in all

situations and in all categories. So if you nd

yourself with a few extra minutes during

the that hurry-up-and-wait existence we all

call sound reinforcement, then take a quick

breather and cast your choices for some in-

novation reected in the 2015 Parnelli Award

nominations. And on your next gig, don’t for-

get to pack an extra cable or two, but avoid

crossing high fast moving water, and leave

the SCUBA tank at home.

Got a comment? Send George an email to

[email protected].

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9/66 fohonline.com • 2015 AUGUST 5

BONNER SPRINGS, KS — Fall Out Boy

has teamed up with rapper Wiz Khalifa for

this summer’s co-headlining “The Boys ofZummer Tour,” supported by Clair Global.

Mixing Fall Out Boy is FOH engineer Chad

Olech, with Kevin Dennis on monitors.

Olech has mixed FOH for a wide array of

major touring artists like Demi Lovato, Robin

Thicke, Joe Jonas, Anthrax, Survivor and the

Deftones. Last fall, he wanted to try a DiGiCo

SD5 and asked Clair to set up a shootout be-

tween half a dozen consoles, including the

SD5, using the Clair i3 cabinets and CP218

subs they’d be using on the tour.

“I’d been using another manufacturer’s

console for the last seven years —it’s a great

console functionally, but it often needs some

help sonically,” he said, adding he was l ookingfor a desk that’s operationally intuitive but

also sounds amazing. The SD5 fullled all of

those wishes. “The workow on the SD5 ts

the way I work perfectly,” Olech said.

Olech also had good things to say about

the Waves MultiRack, which hosts the dozen

or so Waves plug-ins he’s using for the shows

— far fewer than he’s ever needed before.

“But the SD5 also has a four-band EQ on its in-

puts, and I’d bet that if I were to just use that,

the audience wouldn’t notice the difference.

That’s how good the console sounds.”

Monitor mixer Kevin Dennis is equally hap-

py with the DiGiCo SD10 console he’s using.

Sonically speaking, the SD10 is “completely

transparent — the preamps, the EQ, all of it,”

said Dennis, who has also mi xed monitors for

Green Day and Joan Jett & the Blackhearts.

“There’s no coloration of the sound. A band

at this level works very hard to get the tone of

LAS VEGAS — The Parnelli Awards Board of Advisors an-

nounced that one of the visionaries of the modern music festival,

Kevin Lyman, will serve as host/MC for the 2015 Parnelli Awards. The

award show takes place at the Rio Resort and Casino on Saturday,

Oct 24. Considered the “Grammys for Live

Events,” it celebrates and honors those in

lighting, audio, video, staging and all related

professionals involved in putting on concert

tours and live events.

“When asked to host t he Parnelli Awards,

I had to jump at the chance since it will be

the rare occasion when I’m not the oldest

person at the show,” Lyman joked, adding:

“Hosting the Parnelli Awards is another chance to reconnect with

the people who are the backbone of this business.”

Lyman has shaped youth culture for over 35 years through his

many live events, most notably Vans Warped Tour, currently out

right now entertaining thousands of music lovers with a variety of

up-and-coming bands for the 30th year. From 1991-1994, he ran

Lollapalooza, and has done many other live events along the way.

For his philanthropic efforts, Lyman was recognized as the Bill-

board Touring Awards Humanitarian of the Year (2009), an honor-

ee at the Grammy/MusiCares MAP Fund Gala (2011 and 2014), and

was inducted into the Top Dog Touring Hall of Fame (2012). He

serves on the board of directors for MusiCares, TJ Martell Hands

that Rock, Saint Archer Brewery and is an advisor for the Los An-

geles Fairplex.

“Having Kevin host is a different direction for the Parnelli Awards,

and we are absolutely thrilled to have a true star from our side of

the curtain emcee the show,” said Parnelli Awards executive produc-

er and FRONT of HOUSE publisher Terry Lowe. “In addition to being

a constant innovator in our business, he’s also a fascinating, funny,

entertaining speaker. Also, on a personal note, I hope to nd out

what the hell goes on i n the back of one of those Vans Warped tour

buses...”

For more information or to attend, go to parnelliawards.com.


SYDNEY — Australian pro-audio

company RØDE Microphones has ac-

quired Southern California-based au-

dio manufacturer Aphex.

Founded in the mid-1970s, Aphex iswell known for its range of audio signal

processing equipment that features

various proprietary technologies in-

cluding the iconic “Aural Exciter.”

“Growing up in professional audio

as I did, I have always had incredible

respect for Aphex.” said RØDE CEO/

founder Peter Freedman.

A WHITE SPACES REFUGE

The FCC’s ruling on the 600 MHz

wireless zone, Page 10

NATHAN’S HOT DOG CONTEST

The Coney Island crowds got a concert,

too, heard via KV2 gear, Page 18

Stage Roof Collapse atOregon Festival InjuresPerformer and Audio Tech

DONALD, OR — The stage rooferected for the Donald Hazelnut Festi-

val collapsed as the rst of three sched-

uled bands was performing mid-day on

July 11, 2015. Performer Rob Rainwater

and a sound technician were hospital-

ized after being pinned by the struc-

ture. Others onstage did not require

hospitalization.

Rainwater, who was released that

night, was able to keep plans for a July

15 performance date as part of the

Aurora, OR City Park’s summer concert

series while still recuperating his inju-

INDUSTRY & GLOBALNEWS

continued on page 8

Larry Italia JoinsSound Image

ESCONDIDO, CA — Sound Im-

age named Laurence “Larry” Italia vice

president of its Integration Division. In

this new position, Italia will be respon-

sible for new business development

for Sound Image integration as well as

assuming management of the day-to-

day business and staff. Italia comes to

Sound Image after 28 years at Yamaha

Corporation of America, most recently

serving as VP/GM of Yamaha Commer-

cial Audio Systems, Inc.

“Larry has strong ties in the industr y,

specically tour and install sound,

On the Road with Fall Out Boy

Vans Warped Tour Founder Kevin Lyman to Host Parnelli Awards

N O W A V A I L A B L

Powered by

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Contact us at 503-746-8510

The crew, from left: Chris King, monitor tech; Jerrell Evans, systems

engineer/crew chief; Chad Olech, FOH engineer; Tim Banas, PA tech;

Kevin Dennis, monitor engineer; and Katie Hughes, P.A. tech.

Kevin Lyman

continued on page 6

continued on page 8

continued on page 6

Chad Olech uses a DiGiCo SD5 at FOH.

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continued from page 5ries, using borrowed instruments to replace

guitars damaged and destroyed by the col-

lapse.

The sound technician, with Aurora, OR-

based Backbeat Productions, reportedly

escaped any broken bones, spinal or head

injuries, but nevertheless required a longer

hospital stay and faces “a long road to re-

covery,” according to Backbeat Productions’

Butch Kent.

“I want to thank those 50 plus men and

women who rushed to the stage, lifted the

roof and held it stable while the emergency

crews risked their safety and went under the

wreckage to tend to my hurt friends,” noted

Kent, in a comment posted on the WoodburnIndependent website.

Stage Roof Collapse at

Oregon Festival Injures

Performer and Audio Tech

LAS VEGAS — FRONT of HOUSE read-

ers have chosen the six winners of the 2015

Hometown Hero Award competition for the

best regional sound companies.

These top vote getters from each of ve

U.S. regions plus all of Canada will be auto-

matically entered on the Parnelli Awards bal-

lot. Readers will then get a chance to vote

on which regional company will be awarded

the coveted honor of Parnelli Hometown

Hero Sound Company of the Year.

The 2015 Hometown Hero Sound Com-

pany nalists are Northeast, DBS Audio

(Coatesville, PA); Southeast, Mid-Coast

Sound (Nashville); Midwest, Clearwing Pro-

ductions (Milwaukee); Northwest, Spider

Ranch Productions (South San Francisco,

CA); Southwest, Onstage Systems (Dallas);

and in Canada, Sound Art of Toronto.

Representatives from one of these six

Hometown Hero regional winners will be

stepping up to the podium at the 2015 Par-

nelli Awards to claim the Hometown Hero

Sound Company of the Year Award.

Parnelli Award Nominations Open

Through the end of August, FRONT of

HOUSE readers have the opportunity to

choose most of the individuals and com-

panies to be honored at the 2015 Parnelli

awards, Saturday, Oct. 24 at the Rio Hotel &

Casino in Las Vegas. Nominations are now

being accepted for all 2015 Parnelli Awards

categories at parnelliawards.com/nominate.

Other Parnelli highlights include the

presentation of the Audio Innovator award

to QSC founder Pat Quilter, the Lifetime

Achievement Award to Chris Lamb and the

Parnelli Visionary Award to David Cunning-

ham. All other Parnelli Awards honoring ex-

cellence on the part of companies, individu-

als and products are up for grabs — and it all

depends on YOU.

So be sure YOUR voice is heard. There

you can nominate YOUR choice for best FOH

Mixer, Monitor Mixer, Sound Company, Sys-

tem Tech and more. There are also awards

honoring companies involved in Lighting,

Staging, Set Construction, Video, Rigging,

Pyro, Trucking and Freight Forwarding.

Finally, the nominations process for 2015’s

Indispensable Technology (“IT”) Awards is

coming to a close. To recognize products

that have advanced the state-of-the-art in

sound, go to fohonline.com/it.

It all promises to add up to the biggest

night of the year for the live entertainment

profession — and none of it would be pos-

sible without the generous support of

the 2015 Parnelli Awards sponsors.

For more information and to reserve your

spot, please visit parnelliawards.com.

Hometown Hero Finalists Announced; Parnelli Award Nominations Open

and with his vast knowledge in marketing of

installation products from sales through sys-

tem design, we know he will be a tremendous

asset to our team,” said President and CEO,

Dave Shadoan.

Italia was re-

sponsible for

the signicant

growth of Yama-

ha Commercial

Audio and its

NEXO products

and provided

design recom-

mendations for

its PM1D, PM5D,

M7CL, LS9 and

new Rivage PM10 digital audio consoles.

One the top touring companies in the

world, Sound Image later expanded into

the systems integration business and have

developed an impressive portfolio of instal-

lations. Sound Image Integration anticipates

strong growth with Italia at the helm, lead-

ing a team of experienced project managers

and project engineers to drive the planned

growth.

continued from page 5

Larry Italia JoinsSound Image

Larry Italia

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On the road…

In Memoriam: Martin Kling, 54HANNOVER, Germany — Martin

Kling, co-founder of Kling & Freitag, passed

away over the rst weekend in July. He was

54. Before departing from the company in

2008, Kling had served as founding partner

with Jürgen Freitag and chief developer for

the company. He and Freitag developed

widely adopted components including the

CA 106 compact speaker along with the

company’s ACCESS, CA and Line 212 Se-

ries and its Sequenza 10 line array system,

among others.

By 2008, Martin Kling decided to with-

draw from the company due to personal

and family reasons. “I’ve had precious mo-

ments with Mar-

tin. Sometimes

we sat togeth-

er late into

the night and

worked metic-

ulously on new

ideas for loud-

speaker sys-

tems. ‘Only the

best is good enough’ was always his motto,

which still applies to us today. Without Mar-

tin, the company and the Kling & Freitag

brand would not exist in this form. For that, I

am very grateful to him,” said Jürgen Freitag.

LANCASTER, NH — On Aug. 3, a

day after a Chicago-area storm killed a

music festival attendee and injured 15

others taking shelter from a rain and

hailstorm in a tent (see news item, page

12), another storm packing close to 60

m.p.h. winds and hail attened a circus

tent in New Hampshire, killing two — a

father and his daughter — and injuring

32.

The circus in New Hampshire, staged

by Walker International Events (Sarasota,

FL), was hit by the storm about 5:30 p.m.,

as the rst of two shows were getting un-

derway. Fire officials reported that about

100 people were in the tent at the time

it collapsed. The victims were later iden-tied as Robert and Annabelle Young,

aged 41 and 8, from Concord, VT.

Circus Tent Collapse Leaves

Two Dead, 32 Injured

Event Safety Summit Set for DecemberLITITZ, PA — The Event Safety Alliance

(ESA) is announces the return of the Event

Safety Summit, a three-day safety confer-

ence and training opportunity designedfor the live event industry. This year’s Sum-

mit will take place Dec. 1 to 3, 2015, at the

world-class rehearsal facilities of Rock Lititz

in Lititz, PA.

The theme of this year’s event is “The

Way Forward,” examining live event experi-

ences with regard to event safety and offer-

ing tangible “next steps” toward improving

safety. Breakout sessions on current topics

have been added to the core program of

speakers, panels, and facilitated discussions

on relevant live-event issues. Event produc-

ers, production managers, service providers,

venue operators, crew chiefs, stage manag-

ers, and others responsible for making safe-

ty decisions at live events are encouraged toattend.

Registered participants will also be in-

vited to attend an exclusive “beta test” of

the ESA’s new Event Safety Access Training

(ESAT) program on Monday, November 30,

2015. This one-day, entry-level safety course

addresses basic safety education and risk

awareness in the live event profession.

The cost for the Event Safety Summit is

$1,750, which includes instruction, materi-

als, catered lunch and social activities.

For more info, visit eventsafetysummit.com.

NASHVILLE — Road manager Phil

Kaufman, 80, was injured in a motorcycle

accident outside of Nashville, according to

reports. Injuries included a broken ankle, rib

fractures and broken thoracic vertebrae. He

underwent surgery on July 19 at Vanderbilt

University Medical Center and his condition

was reported to be “critical but stable,” withno apparent paralysis or head injury.

Over his lengthy career, Kaufman served

as road manager for the Rolling Stones, The

Flying Burrito Brothers and Gram Parsons,

among others. After Parsons’ drug overdose

in Sept. 1973, Kaufman and a friend attempt-

ed to honor Parsons’ wishes by trying to in-

cinerate the musician’s body at a favored site

in California’s Joshua Tree National Park. Both

men were ned for the theft of the coffin,

and the story became the basis for the 2003

movie, Grand Theft Parsons, with Kaufman

portrayed by Johnny Knoxville, co-creator of

MTV’s Jackass.

Along with the memorable slogan, “mov-

ing people, not equipment” on his business

card, Kaufman penned an autobiography withColin White recounting his 1960s escapades in

a book titled Road Mangler Deluxe in 2005.

Kaufman also served as road manager

(or “mangler,” as he put it) for Emmylou Har-

ris, Frank Zappa, Joe Cocker, Carlene Carter,

Rosanne Cash, Rodney Crowell, Etta James,

Jonathan Richmond, Vince Gill, Albert Lee,

Marianne Faithful, The Divynals, Marty Stuart,

Nash Ramblers and others.

Road Manager Phil Kaufman, 80, Injured in Accident

LOS ANGELES — Two women, aged 18

and 19, died after attending the Hard Sum-

mer Music Festival staged at the Los Angeles

County Fairplex in Pomona, CA on Aug. 1. Live

Nation cited cardiac arrest and a possible sei-

zure as the cause of the two deaths, but re-

ports also quoted a coroner’s official calling

the deaths “apparent drug overdoses.”

In separate incidents, both women were

found to be unresponsive and rushed to local

hospitals and died later that night. The L.A.

County Board of Supervisors was expected to

eld the question of whether to continue to al-

low music festivals on county property.

The Hard Summer Music Festival took

place Aug. 1-2, 2015, featuring headliners The

Weeknd and Jack U. Attendance had report-

edly grown from 40,000 to 65,000 per day.

Two Revelers Die After Attending

Hard Summer Festival

8/20/2019 FOH 1508


INDUSTRY NEWS


On the Roadwith Fall Out Boy

its backline exactly right. They don’t want to

hear your version of that sound. I only want

what they want to come through back to

them. The SD10 lets me d o just that.”Just as importantly, Dennis said, the SD10

has also become a communications hub for

the entire operation. “We have an extensive

talkback system with everyone on in-ears,

including the techs, and no speakers on the

stage,” he said. “Instead of hand signals, the

techs can easily get onto the comms and let

me know what they need, or vice versa. It’s all

matrixed through the SD10, which makes it

very streamlined.”

“They’ve always been the best in the busi-

ness at enhancing the recorded audio experi-

ence, and that is as true today as it was when

the company was founded 40 years ago. I

am excited about creating the next chapter

in the Aphex story, bringing the company’s

game-changing technology to a wider audi-

ence,” added Freedman, who is pictured here

with David Wiener, chairman and CEO of DWV

Entertainment, previous owner of Aphex.

Peter Freedman and David Wiener



KATONAH, NY — A former residential

estate now used for classical music perfor-

mances and an art museum, the Caramoor

Center for Music and the Arts features a 1,550-

seat outdoor performance space called the

Venetian Theater.

Although orchestral performances in thetented space are unamplified, the venue adds

microphones and speaker system for vocalists

and other performances. The venue’s eight

FBT J8 speakers from Italian Speaker Imports

are enough for those occasions and for other

P.A. applications.

Less than an hour north of New York City,

the venue draws thousands of music lovers an-

nually — all eager to explore its lush gardens,

visit the historic Rosen House, and to enjoy a

pre-concert picnic. From up-and-coming stars

to well-known musicians and conductors such

as Wynton Marsalis, Audra McDonald and An-dre Previn, Caramoor features noted talents.

The outdoor Venetian Theater area is the

only one of Caramoor’s concert spaces that

maintains permanently mounted speakers.

“The concerts here that are classical are

completely unamplified,” said Warren Ham-

mer, Caramoor’s production manager and

technical director. “The only time we use am-

plification is when we have a vocalist or it’s a

jazz, Americana or cabaret performance.”

Simon Nathan of Italian Speaker Imports

added, “the Venetian Theater is expansive, so

we needed an exceptional speaker that would

promote speech intelligibility. The sound can

easily be heard over conversations, contained

within the space needed, despite the open-airenvironment. The other advantages are that

FBT speakers are available in white and are

very light, which was perfect for the thin tent

poles that they’re mounted on. In addition to

providing clear, focused sound, the output is

spectacular and they’re visually appealing.”

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Eight J8 speakers from Italian Speaker Imports cover the 1,550-seat outdoor

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WASHINGTON, DC — For many pro

wireless users, the past ve years have been

a nightmarish roller coaster of uncertainty. It

all began with the Federal Communications

Commission’s 2008 auction of the 700 MHz

band (698 to 806 MHz) from the reallocation of

TV channels 52 to 69 and the “white spaces” is-

sue, where available space between frequency

bands was made illegal for pro wireless appli-

cations after June 12, 2010.

That was bad enough; then, two years ago,

the FCC did it again, this time announcing an

upcoming auction for huge swaths of the 600

MHz band. This was pretty bad news, partic-

ularly for anyone who previously abandoned

their 700 MHz gear and took refuge in the sup-

posedly safe connes of the 600 MHz spectra.

The 600 MHz auction has since been delayed

twice and is now set to take place in early 2016.

However, thanks to a Herculean lobbying

effort by interested legislators, key production

industry personnel and wireless mic manufac-

turers, particularly Shure, Sennheiser, Lectro-

sonics and Audio-Technica, a little sunshine is

breaking through the clouded situation. The

key points they presented focused on makingsure the FCC was aware of the need for clean

bandwidth for wireless mic users, while offer-

ing suggestions for possible solutions.

First, a Little Reality

No, the wireless audio world of the post-

600 MHz auction is not going to be like it is

right now. Huge sections of that bandwidth

will disappear forever. However, according to

a recent FCC ruling, this will not be like the

clear-cutting deforestation that happened in

the 700 MHz asco.

On August 5, 2015, the FCC issued Report

and Order (FCC 15-100) that modernizes its

Part 15 rules to accommodate growing de-

mand for bandwidth, while addressing the

“long-term needs of wireless microphone us-

ers by providing for continued access to the

600 MHz band and expanding access to other

bands.”

These new rules were adopted to permit

unlicensed xed and personal/portable white

space devices and unlicensed wireless micro-

phones to use channels in the 600 MHz and

television broadcast bands while continuing

to protect television and other licensed ser-

vices from harmful interference.

The FCC’s Part 15 rules permit unlicensed

devices to operate on unused TV channels,

within the so-called “white space” spectrum.

Following the upcoming incentive auction,

there will most certainly be fewer white space

frequencies in the television band for unli-

censed use — but these spaces will exist, al-though their exact frequencies are yet to be

determined.

Specically, the new rules:

• Provide more opportunities for licensed

use in the remaining TV bands by allowing

greater use of the VHF channels and permit-

ting co-channel operations inside DTV con-

tours without coordination if TV signals fall be-

low specied

threshold;

• Expand

eligibility for li-

censed use of a

4 MHz portion

of the 600 MHz

duplex gap

to include all

licensed users in the TV bands (broadcasters,

cable programming networks, movie studios

and operators at major sporting/concerts/the-

ater venues); and

• Provide new opportunities for licensed

wireless mics to operate on a secondary basis

in three additional spectrum bands, consistent

with the FCC’s spectrum management goals.

600 MHz and Beyond

These FCC goals also include access to

signicantly more spectrum in the 900 MHz

band; access to a portion of the 1,435 MHz to

1,525 MHz band at specied times and places,

subject to requirements that protect critical

aeronautic mobile telemetry; and access to

portions of the 6,875 MHz to 7,125 MHz band. Together with the rules adopted by the FCC

on Aug. 5 regarding unlicensed use of the 600

MHz band, these new rules provide for effi-

cient sharing of these bands to accommodate

wireless mic users, while continuing to protect

the licensed users of each of the bands.

For more information, visit the FCC at fcc.gov.

FCC Rules on 600 MHz Wireless OperationsBy George Petersen

K-array Parts Wayswith Sennheiser, MakesDistribution Changes

NEW YORK — K-array, based in Flor-

ence, Italy, announced changes to the dis-

tribution of its products in North America

and elsewhere around the world.

Effective Aug. 1, 2015, K-array Amer-

ica, led by 30-year industry veteran Lou

Mannarino, is responsible for the distri-

bution of the K-array portfolio i n the U.S.and Canada. Mannarino has been work-

ing as a K-array specialist since 2008.

K-array America currently has an am-

ple array of K-array gear and has recent-

ly set in place new processes to help its

North American customers.

The company, which had relied on

Sennheiser as a distribution partner for

the past eight years, also announced dis-

tribution changes in China, Australia, the

U.K. and Uruguay, and noted that addi-

tional news about distribution changes

will be on the way in the near future.

In China, K-array named Rightway

Audio Consultants Ltd (RACPRO) as its

exclusive distributor in the region.

In Australia and New Zealand, Nation-

al Audio Systems Pty Ltd (NAS), whichhas its head office and main warehouse

in Melbourne and branches in Sydney,

Brisbane and Perth, got the K-array nod.

In the U.K., newly formed 2B Heard

Ltd is now the exclusive K-array distribu-

tor. That company is led by industry vet-

erans Dave Wooster and Sam Nankivell.

In Uruguay, which borders Brazil and

Argentina, K-array named Pro Musica

Uruguay as exclusive d istributor.

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Tent Collapse Kills

Attendee at Chicago-

Area Music FestivalWOOD DALE, IL — A local resident at-

tending the Prairie Fest in this Chicago suburb

died Aug. 2 when a storm with high winds, hail

and rain attened the tent that a group of peo-

ple had sought for shelter. Fifteen others were

taken to a hospital, including three with seri-

ous injuries; others were treated at the scene.

Although as many as 5,000 attended the

four-day event the evening before, the storm

that tore the tent from its moorings struck in

mid-afternoon before a large crowd had ar-

rived. The remainder of the Aug. 2 event was

canceled after the storm hit.

Witnesses described the tent rising up in

the air and collapsing after its moorings were

torn loose, with rst responders reportedly

cutting holes to gain access to people trapped

beneath the tent.

Other festivals in the Chicago area were

also disrupted Aug. 2, including the Lollapa-

looza music festival in Chicago’s Grant Park.

That event, attended by some 89,000, was

shut down for nearly an hour in the afternoon

and ended about a half-hour early due to bad

weather. No injuries were reported.

MILFORD, NH — In the four years Chris Mitchell has

acted as FOH Engineer for Umphrey’s McGee, he has mixed

over 480 shows that are all available for purchase and review

online. Over the past two years, Mitchell has been working

to remove corrective EQ from his FOH mix with the help of

Earthworks microphones.

“When I rst saw the engineering behind the micro-

phones, (i.e., at frequency response, quick transient re-

sponse and extended high frequency response), it made

perfect sense to me, and I have been intrigued with Earth-

works microphones ever since.”

Mitchell has been working hard to eliminate the use of

EQ over the past few years. “The old adage: ‘move the mic

and not the EQ knob,’ rings very true with me. Once I started

using Earthworks mics for drum overheads, they quickly be-

came my favorite. This started me down the path of tighter,

cleaner, more accurate transient response and less EQ.”

Once he shook off the lure of the EQ knob, “the sound of

the drums started to open up. Then I could really get into

things like close placement, time aligning my snare and toms

to my overheads to make the sound of all these drum set

elements microscopically tighter and cleaner. Without the

Earthworks’ clean transient response and off-axis response,

this would be impossible. So, if I can get away from using

EQ, hopefully, I can get a truer, more lifelike reproduction of

the signa l.”

In April of this year, Umphrey’s McGee performed a con-

cert in St. Augustine, Florida, and Earthworks microphones

were on stage in full force. “We were using Earthworks

SR40V cardioids on vocals, SR25 cardioids on guitar amps.

On drums we used a pair of silver SR30 cardioids as drum

overheads, DP30/Cs on snare and rack toms. We also use an

SR30/HC hypercardioid, a pair of SR20s and an SR40 cardioid

on percussion.”

But it all comes down to the sound. “The Earthworks mi-

crophone transient response is second to none. I can make

a snare drum sound so natural and so pristine, you would

never guess it is coming out of a P.A. system.”

Umphrey’s McGee FOH Engineer Minimizes Need for EQ with Miking Solution

Chris Mitchell got an assist from Earthworks.

Insomniac MakingPlans for EDC Japanin July 2016

LOS ANGELES — No rm dates

have been announced, but Insomniac

Events is planning to launch its rst Elec-tric Daisy Carnival event in the Tokyo

area in July 2016. The announcement

comes as rival EDM-oriented music

events proliferate around the world.

Insomniac’s rst Electric Daisy Car-

nival, which has roots in 1990s ware-

house rave events in Los Angeles, grew

dramatically in the late 2000s and ex-

panded with events elsewhere in North

America, Puerto Rico and the U.K. The

company’s agship EDC event moved

from Los Angeles to Las Vegas in 2011.

The rst South American EDC will take

place in Sao Paulo, Brazil Dec. 4 and 5.

For more, visit electricdaisycarnival.

com. For details about this year’s EDCshow in Las Vegas, see the related story on

page 38 in this issue.

8/20/2019 FOH 1508

17/66

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8/20/2019 FOH 1508


INDUSTRY NEWS

MilwaukeeSummerfest’s OasisStage Features NewSpeaker System

MILWAUKEE, WI — Adamson Systems

Engineering’s E-Series was tapped to provide

sound reinforcement for the Miller Lite Oasis

Stage at this year’s Milwaukee Summerfest.

Adamson’s applications engineer Brian

Fraser created the system utilizing Adamson’s

Blueprint AVTM software for the stage, which

accommodates up to 9,500 fans. Clearwing

Productions provided the gear.

The 11 day music festival features 11 stages,

more than 800 acts, 1,000+ performances and

draws an average of 900,000 music lovers from

across the country.

The 52,000 square foot Oasis accommo-

dates up to 9,500 fans who were treated to

big-name acts including Bastille, Public Ene-

my, Time Flies, Kip Moore, Sublime With Rome,Sammy Hagar and Smash Mouth.

Fraser specified left-right arrays made up

of six E15 and three E12 line array enclosures

hung from ceiling trussing located above the

stage. Front fill was provided by four S10 en-

closures positioned along the lip of the stage

while eight more S10 boxes handled outfill du-

ties. The system was completed with 16 E219

subwoofers, ground stacked in front of the

stage, to provide the low-end to accommo-

date the variety of scheduled performances.

“Mixing on an Adamson E series rig for the

first time, I was blown away,” added Ben “Snake”

Schmitt, FOH engineer for Kip Moore. “The

coverage was second to none, and maintained

a consistent sonic quality from the first row to

the last. Punchy, transparent, responsive and

clear, these boxes are fun to mix through. I’malready looking forward to the next time I’m

able to mix on an Adamson rig.”

Clearwing supplied Adamson’s E-Series

MADISON, WI — The 14th annual Op-

era in the Park event drew a record crowd of

more than 15,000 to Madison’s Garner Park

on July 25, with an audio assist from Full Com-

pass Systems and Bag End.

Jonathan and Susan Lipp, Full Compass

Systems CEO and chairman of the board, re-

spectively, and Bag End owners Henry Heine

and Jim Wischmeyer, have donated their time

and gear for 13 years to bring the best sound

to the event.

Their team is rounded out by a number of

Full Compass staffers and Sennheiser nation-

al account manager Adam Livella, who also

volunteers time and lends equipment to the

event.

“It’s the largest concert of its kind in the

nation per capita, and who knows, maybe the

world!” Susan Lipp said the week leading up

to the annual performance, “which is totally

amazing. You’d think San Francisco or New

York would have the largest, but no, it’s right

here in Madison.”

Now in their 13th year aiding Madison Op-

era, the group is expanding, adding grandson

Jake Lipp to the team in recent years. The

25-year-old comes from Chicago each sum-

mer to mix audio alongside his grandfather.

He’s the third generation to make music and

sound his career, working around Chicago

with IATSE Local 2, as a stagehand, engineer

and audio freelancer.

The team bring audio innovation to Op-

era in the Park. Instead of close-miking, they

use a minimum number of overhead mics, so

instruments blend naturally, and Sennheiser

MKH800 mics are placed at the front of the

stage for the vocalists. A figure-8 polar set-

ting picks up sound in specific areas in front

and back, while eliminating sound from the

sides to reduce feedback. This lets the team

set up side-facing Bag End oor monitors at

the front of the stage so vocalists can hear

themselves, and save space on a full stage.

Jonathan and his team are also using

Sennheiser’s A5000-CP passive antennas to

send highly directional wireless signals to

remote speakers placed high up the hill on

Garner Park. The technology helps eliminate

the need for wiring, reduces dropouts and

streamlines the process.

Full Compass’ Support for Opera in the Park Blooms Once Again

Jake and Jonathan Lipp at FOH.

8/20/2019 FOH 1508

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INDUSTRY NEWS

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Stewart Independent Production Expands Inventory

INDUSTRY NEWS

NEW YORK — Close to 30,000 were

drawn to Coney Island in Brooklyn for the

annual hotdog eating contest sponsored by

Nathan’s Famous. A Fourth of July staple since

1916, the event also now draws national TV

coverage.

This year, PLUSMUSIC and Audio Produc-

tion Services, both New York-based compa-

nies, were on hand to supply sound reinforce-

ment for this very American tradition. They

provided KV2 equipment — a brand that’s not

yet as famous as Nathan’s, but one that is be-

ginning to make a big impression in the U.S.

pro audio biz.

Simon Nathan, president of Audio Produc-

tion Services and brand manager for Italian

Speaker Imports, has been the sound engi-

neer at the hot dog eating contest for the last

10 years.

“We needed a system that was powerful

enough to reach a massive, outdoor crowd,

[yet] small enough to not be visually obtru-

sive for the ESPN broadcast,” he said. “KV2

was perfect for an outdoor event of this size,

because you don’t need lots of it to get a big

sound.”

Using a KV2 ES1.0 system for the main au-

dience at the front of the stage, Nathan used

an ES1.8 and ES2.6 on each side. Two front

speakers were used, each an EX26, as well as

an ESR215 on each side. For the delay system,

Nathan chose two ES1’s on top of two ES1.8’s

and an ES2.5. The results were impressive. “It

was so powerful,” he said. “You can do a lot

more than virtually any other sound system

with a KV2 rig. It covers a tremendous size

crowd. It’s a point source system as opposed

to a line array, but that single box has incredi-

bly even and efficient coverage; the quality of

the power was stunning.”

The focal point of the event, of course, was

the eating competition, won by Matt Stonie,

who bested eight-time champ Joey “Jaws”

Chestnut by a margin of 62 to 60 hot dogs.

But the event also featured two hours of per-

formances as a dozen local bands, singers,

dance crews and DJs kept the crowd enter-

tained prior to the main event.

Audio Links Up at Nathan’s Hotdog Eating Contest

PLUSMUSIC and Audio Production Services supplied a KV2

system for the event.

NEW YORK — NY CityFest, a re-

gion-wide initiative focused on helping Chris-tian churches with their outreach efforts,

teamed up with Luis Palau and others on July

11 to offer a free concert and gospel sermons

at New York’s Central Park.

The combination of great weather and an

all-star Christian music lineup left few open

spots on the Great Lawn in Central Park. With

attendance limited to 60,000 people plus an-

other 20,000 people encircling the perimeter

and an additional audience via radio, televi-

sion and Internet streaming, the pressure was

high to provide clear and quality sound.

Production company L&M Sound & Light

was tasked to meet these needs and chose a

K-array rig. Originally raising their eyebrows

at the decision to use a system that they

had not had the opportunity to experience

before, engineers and event planners alike

quickly changed their minds once they heard

the K-array Firenze Series speakers.

“I was skeptical, as I had never seen a sys-

tem set up like that before, and on such alarge platform with a global audience, we had

little room for error,” said Ryan Lampa, sound

engineer for Toby Mac. ”But I was extremely

pleased with the power, coverage and accu-

racy right out of the box. I was inspired by the

clarity of the PA and found myself making the

tiniest changes to the mix, and enjoyed hear-

ing those tiny changes.”

Extending 55 acres and measuring a length

of around 400 meters, a main PA with two line

delays were needed to cover the large area.

The K-array arsenal included a wall of 12 KH8

line array elements paired with eight KS8 sub-

woofers per side. Two KH3 loudspeakers com-

bined with two KS5 subwoofers for stage side

fills to the left and the right of the perform-

ers. Four KH2 loudspeakers were originally

planned for front fill coverage, but with the

KH8’s digital steering and 120-degree hori-

zontal coverage, they were not needed.

SAUGATUCK, MI — Stewart Indepen-

dent Production has invested in another

round of RCF audio gear, including RCF Ac-

tive TTL33-A-MK2 line array modules, RCF

Active TTS18-A subwoofers and RCF Active

TT25-SMA stage monitors (for use as oor

wedges). The company has also added RCF

Active TT051-A super compact front-fills.

Company owner owner Shannon Stew-art said the latest gear purchase is directly

related to the increase in business Stewart

Independent Production has been able to

generate with the earlier purchases of RCF

speaker components. “A good deal of this

latest demand is a direct result of owning

this rig,” Stewart noted.

Stewart also credited the gear for “ex-

cellent throw and pattern control, dynamic

headroom, overall system fidelity and of

course vocal projection and vocal nuance,”

which he called “fantastic. Lastly, the RCF RD

NET has really opened up our array options.”

L&M Sound & Light Supports ChristianMusic Concert in New York’s Central Park

L&M provided K-array Firenze S eries speakers.

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8/20/2019 FOH 1508


GLOBAL NEWS

PILTON, U.K. — For the second year

running, U.K. soundco RG Jones Sound En-

gineering deployed Martin Audio’s Multi-cel-

lular Loudspeaker Array (MLA) system on

Glastonbury Festival’s huge Pyramid Stage,

which proved to be a tangible success. TheMLA system’s ability to control noise escaping

beyond the site perimeter while maintain-

ing high fidelity and SPL’s for the audience

helped FOH engineers optimize the mix for

the festival’s big crowds.

“We drove each acoustic cell in each MLA

to direct sound at the audience, and then

cut it off sharply just beyond the perimeter

of the field to dramatically reduce noise pol-

lution,” said system tech Andy Davies. “As a

result, acts including The Who, Florence and

the Machine, Kanye West, Paul Weller and

Motorhead could comfortably play at 104-

105 dBA.

“When a FOH engineer doesn’t have to

worry about sound levels, they focus onwhat they do best — mixing,” Davies added.

“They enjoy the expe-

rience more, and that

translates to the audi-

ence experience too.”

The system design was

similar to last year, includ-ing 72 MLA for the main

hangs, eight MLA Com-

pact for stereo infill at the

pit barrier and a total of

six delay positions of both

MLA and MLA Compact as

required.

There was also a massive broadside array

of 38 MLX stretched across the width of the

stage to provide sub-bass support to the en-

tire system. “The system knitted together re-

ally well,” continued Davies. “It has allowed us

to put more energy through the middle two

delays and push a big thrust of power up the

center of the site. We then used the outer de-

lays to fill in and keep coverage going out tothe edge, which has worked really well.”

Motorhead FOH engineer Arnie Annables

was pleasantly surprised. “I wasn’t looking

forward to Glastonbury because of the noise

restrictions; we like to play loud! However,

things went surprisingly well, and I was very

happy with the outcome. The system sound-

ed good, not what I am used to, but my ears

were pleased. The RG Jones guys did a fantas-

tic job looking after me, as did everyone onstage. It’s been a real pleasure.”

RG Jones Sound Rocks Glastonbury Festival

The Pyramid Stage featured a Martin Audio MLA system.

MONTREAL, Canada — The 36th Fes-

tival International de Jazz de Montréal

took place June 26 through Jul y 5 and once

again turned the city into the epicenter of

jazz , welc omin g thous ands of the world ’s

greatest artists into one 10-day musical

celebration with more than 600 concerts.

Solotech of Montreal returned as the of-

ficial sound provider of the festival. More

than 25 Yamaha consoles, from CL, QL to

PM5D and M7CLs, were used for the fes-

tival, many of which are Solotech-owned,

and some were provided to Solotech byYamaha Professional Audio.

Pierre Perreault was the FOH engineer

at the Theatre Maisonneuve for the entire

festival and, along with guest engineers,

used one of two Yamaha CL5 digital audio

consoles along with two Rio3224-D stage

boxes, with the second CL5 used for moni-

tors and sharing the Rios.

Perreault had the unexpected pleasure

of mixing Dee Dee Bridgewater with Irvin

Mayfield and the New Orleans Jazz Or-

chestra in the 1,500-seat theatre as several

complications had arisen, in-

cluding multiple flight delays,

so he was asked to step in right

before the show was about

to begin and mix. “Doing a

show you don’t know anything

about, with no sound check for

the main artist and 20 addi-

tional musicians onstage, you

need to have a console that

is easy to mix on so you can

react quickly,” he noted. “The

CL5 was the perfect console

for making my life easier that

night while sounding great at

the same time. More and more

venues in Québec are upgrad-

ing their M7CL to CL5,” added Perreault.

“For me, that is a really big plus, so I can

import my M7CL shows into the CL5. Itsaves a lot of time while also gaining ac-

cess to the new tools of the CL5.”

A Bit of Improv at FOH for Montreal Jazz Fest

Pierre Perreault with Yamaha’s CL5 console

ZHUHAI, China — Allen & Heath’s

iLive digital system has been installed as

the FOH mixer in the central theater at

the New Yuanming Palace of Zhuhai.

A reproduction of the Old Summer

Palace in Beijing, which was destroyed

in 1860, the popular tourist attraction in-

cludes an imperial garden, lake, pagodas

and a new 6,000-capacity central out-

door venue for theatrical performances.

The theater’s FOH system now fea-

tures Allen & Heath’s iLive-T112 Control

Surface with iDR-48 MixRack. It is fitted

with an M-Dante network card to sup-

port 64 channels of multi-track for live

recording and playback.

“iLive provides exible control and

extensive operational capabilities, in-

cluding live recording, so our sound

system can easily manage a varied and

diverse program of activities,” said Mr.

Huang, project manager at the theater.

“The sound quality of the system is

extremely high, making every perfor-mance very special.”

The 6,000-capacity theater’s FOH setup includes an

iLive-T112 control surface with an iDR-48 MixRack.

New Yuanming Palace

Opens Outdoor Venue;

FOH Setup Includes

New Digital Console

ROME — A gathering of people con-

cerned about changing educational policies

drew close to a million people to Rome’s

San Giovanni Square. The sound company

with the tough task of ensuring that such

a large crowd could hear every word of the

speech-makers was Cipiesse (Centro di Pro-

grammazione Spettacoli), which provided

mains, front fills and delay towers that relied

heavily upon Outline’s Buttery line arrays.

The design of the system, by Giancarlo

“Jerry” Paladini and FOH engineer Raffaella

Gatti, was based on measurements carried

out three years before with Outline, during

the huge May Day concert. Paladini and Gatti

opted for two main stage-side clusters, each

with 12 Buttery enclosures, plus two small

arrays, each with four Eidos 265 components,

in an L-R configuration for front fill duties. Two

delay towers were also deployed, each with

two hangs: two with 12 Buttery enclosures

and the other two with 12 Mantas elements,

approximately 70 yards from the main rig.

Apart from guitar groups accompanying

choirs and singers and video contributions,

the majority of the sound reinforcement was

for speakers at the event, so four Outline Sub-

tech 218 subs installed at the stage and twoat each delay tower were more than sufficient

for low frequency reinforcement.

Using Outline’s Open Array software simu-

lations, the team was confident the rig would

meet the event’s needs, according to Paladini.

“Things went very well. The simulations cor-

responded with reality and, as far as system

calibration was concerned, it was mainly a

case of ‘plug and play,’ thanks to Outline’s de-

fault presets.”

Delay towers included Buttery and Manta elements.

Cipiesse Sound Spreads the Message atRome Mega Event Attended by 1 Million

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Umbria Jazz Festival Twists for 2015Include Lady Gaga, New Audio System

PERUGIA, Italy — The Umbria Jazz

Festival featured a few novel twists this year

including a performance by Lady Gaga and

Tony Bennett on the Santa Giuliana Arena

main stage on July 15. The audio system for

the arena was developed with RCF products

from the TT+ Series, especially conceived for

big live events.

CTO of Umbria Jazz and CEO of Reference

Laboratory, Angelo Tordini worked with RCF

engineers on the project. The audio sys-

tem was composed of two clusters of RCFTTL55-A (14/side) as main reinforcement, 12

TTL33-A II’s used as infill, 18 TTS56-A subs on

the ground and six TTL33-A II’s as sidefill and

lipfill, for an optimal coverage of the first rows

and sides.

Monitoring was all-RCF, with eight TTP5-A

and 2 TTS26-A subwoofers as stage sidefill,

plus 16 TT25-SMA stage monitors — and

as drumfill, two TT2-A speakers with two

TTS26-A subs.

“I was positively impressed by the whole

TT+ Se ries,” said the arena’s P.A. manage r, Mi-

chele Mongiello. “The system is practical to

put together, easy to use and simple to man-

age thanks to the RDNet system. The sound

is nice and rich. We set the subs in cardioid

configuration and digitally delayed them,

creating a 100-degree arc. Moreover, I used

RDNet to slightly correct the speaker func-

tionality, bearing in mind the distance that

they had to cover, because high-end fre-

quencies tend to be less crisp in these warm

and windy days.”

The 2015 edition of Umbria Jazz ended

with a bang, with the organizers stating it

had been a record year. For RCF, the biggest

success lays in the satisfaction of Umbria

Jazz’s public and in meeting the demands ofartists who performed. According to Herbie

Hancock, Umbria Jazz is “the place where one

should be at this time of the year.”

Michele Mongiello managed the P.A. at the Santa Giuliana Arena.

SYDNEY,

Australia — The

Australian federal

government re-

cently mandated

a TV frequency re-

allocation and as-

sociated sell-off of

“unused” spectral

bandwidth. [Sound

familiar?] As a re-

sult, wireless mic

and IEM users around the country were

soon checking their inventory for compli-

ance, and replacing equipment that would

no longer reliably function or be legally op-

erable after the changes.

For some, this was a simple exercise

of a few channels in one location, but for

large institutions like Hillsong Church — a

Pentecostal multi-site megachurch with

campuses in Sydney, Brisbane, Melbourne,

Newcastle, Gold Coast and Noosa — this

was a major project over three states and

more than a dozen locations, all with differ-

ent wireless needs.Hillsong facilities project manager Steve

Le Roux oversaw the process of evaluat-

ing the equipment throughout the orga-

nization and preparing for the looming

frequency changeover. “I approached all

of our campuses and extension services

and got a list of all their radio equipment,”

Le Roux explained. “We determined we’d

need to replace the main Baulkham Hills

radio devices and all the campuses.”

As this was a major financial as well as

logistical undertaking, the Hillsong team

was thorough in its assessment of both

technical performance and overall costs.

The technical team

decided on a com-

bination of Shure

UHF-R, ULX-D, and

QLX-D radio mi-

crophones, along

with PSM 300, PSM

900, and PSM 1000

in-ear-monitors .

“Most main cam-

puses run around

14 channels of IEM,

six MC mics, and six vocal mics. Our 12 sat-

ellites usually run about six channels total,”

Le Roux added.

“I wanted really reliable RF perfor-

mance,” stated Hillsong’s Reid Wall. “I need

to confidently put all microphones and in-

ears on stage and know they’re not going

to drop out. I spend a lot of time mixing

monitors, so the reliability of in-ears is a

big deal to me. The PSM 1000s instant-

ly impressed me. PSM 1000s are a game

changer for wireless IEM and I love be-

ing able to manage everything in Shure’s

Wireless Workbench RF managementsoftware.”

Jands provided extensive support to

Hillsong during the rollout, including RF

engineering to ensure correct frequen-

cy allocation per site and region. “Using

Wireless Workbench, we did scans in each

campus,” related Steve Le Roux. “The scans

were sent to Jands, who coordinated each

campus’ frequency allocation. We’ve had

no issues in the rollout, frequency-wise,

even in an RF-heavy environment like

Baulkham Hills, where we’ve split into two

bands to allow us the exibility to bring in

external rental equipment.”

Jands Helps Hillsong Church Find RF Solution

The setup now includes Shure UHF-R, ULX-D, and QLX-D radiomicrophones along with PSM 300, PSM 900, and PSM 1000 IEMs.

PARIS — More than 400,000 specta-

tors gathered on Paris’ Champs de Mars for

the July 14 La Fête Nationale (Bastille Day)

public holiday. Marking the culmination of

the French Revolution in 1789, the crowd as-

sembled at the foot of the Eiffel Tower for a

performance of Carl Orff’s Carmina Burana by

250 musicians from the National Orchestra of

France and the Radio France Choir.

Along with a Yamaha desk, which handled

the presenter’s mic and music playout during

the firework display, Lawo’s Hervé de Caro

noted that two Lawo consoles were used — a

24-fader mc²36 for the choirs and a 40-fader

desk for the orchestra. “DALLIS I/O and theaudio recorders were connected to our new

Nova router,” he noted.

“In combination with the mc²Compact

I/O and mc²36, this new Nova router, which

will be officially launched at the upcoming

IBC, becomes a very smart package for live

performance, installed sound and houses

of worship,’ de Caro added. “It is just plug &

play — you connect your consoles and I/O

systems via Ravenna/AES67 or MADI, and

the audio network is up and running, pro-

viding immediate access to all sources.”

The show ran smoothly, but the bottom

line was the audio. “The sound engineers

were very impressed by the sound and

the tool-set given by the processing of the

channels. They also appreciated the GUI,which allowed them to quickly flip, route

and mix to any of the auxes.”

Huge Bastille Day Concerts Get Digital Assist

Two Lawo consoles and one from Yamaha handled the audio mix.

8/20/2019 FOH 1508

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8/20/2019 FOH 1508


ONTHEMOVE

Allen & Heath hired two new sales rep

firms. Richard Dean Associates will handle

New England and SKMac will cover the Mid

Atlantic region.

Avid named Paula E. Boggs to its board of

directors. Her many years of corporate lead-

ership, combined with a background as a

musician familiar with Avid products should

provide a unique perspective as the company

continues its Avid Everywhere campaign.

Biamp Systems

named Hugh Daly

area manager for the

north central region.

The addition is in re-

sponse to the com-

pany’s growth and

expansion across the

North American AV markets.

Burst, a full-ser-

vice, pro sound and

lighting company

based in Detroit, ap-

pointed Steven Fitz-

gerald to the newly

created position ofvice president of sales.

CAD Audio expanded its international

distributors. Now handling CAD and Astatic

Commercial are Intellimix (Canada), SAICO

(France), Gold Music (Italy), Rosetti (United

Kingdom), ID Musikk (Norway), Digisolutions

(Argentina), Lauda Audio (Poland), Forerunner

Technologies (Philippines), Tiga Negeri (Indo-

nesia), Doremi Trading (Vietnam), Zuhal (Tur-

key) and Ladhuram Toshniwal & Sons (India).

THE MEYER MARKETING TEAM

Community Professional named Meyer

Marketing, Wellington, FL, as its new Floridasales representative. Pictured here, from left,

are Larry Meyer, Garrett Meyer, Daniel Orr and

Larry Boscarino.

Event Safety Alli-

ance, the non-profit

safety organization

serving the live event

industry, named Dr.

Donald C. Cooper ex-

ecutive director. Dr.

Cooper assumes daily

business responsibilities from ESA founder

Jim Digby, who continues to chair the ESA

board of directors.

Grundorf Corpo-

ration, parent com-

pany of loudspeaker

manufacturer Grund

Audio Design, added

Maple Valley, WA-

based Goldsmith

Sales & Marketing to

its expanding list of sales reps. Pictured here

is Michael Smith, Goldsmith’s principal. The

firm will cover Alaska, Idaho, Montana, Ore-

gon and Washington.

Lawo named Rob-

ert Charles “Chas”

Rowden as head of

strategic sales for

Lawo’s global team.

FOH 1508

Documents