THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS OCTOBER 2019 | PROSOUNDWEB.

COM

UP FOR ANY DETAILING HIGHLY USEFUL VCA ASSIGNMENT

STRATEGIES

VARIABLES
INSIDE

MAXIMIZING THE TRANSITION AREA BETWEEN

SUBS & MAINS
Checking in with the sound team for EXAMINING FREQUENCY RESPONSE IN KICK
the latest Rob Thomas tour DRUM MICROPHONES
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 In This Issue OCTOBER 2019 | VOL. 28, NO. 10

FEATURES
18 UP FOR ANY VARIABLES Checking in with the sound
team for the latest Rob Thomas tour. BY KEVIN YOUNG
22 THE PATH LESS TRAVELLED Successful touring in
less-developed parts of the world. BY BECKY PELL
42 SMALL BUT MIGHTY Deploying a new rig at a small-
town summertime festival. BY MICHAEL LAWRENCE

DEPARTMENTS
12 REALITY CHECK What every singer should know from 26
a mix engineer’s point of view. BY ALES STEFANCIC
26 INSIGHT Detailing highly useful VCA assignment
strategies. BY ROBERT SCOVILL
56
30 TALKIN’ YAK Getting the most out of the transition
area between subs and mains. BY JIM YAKABUSKI
34 SPOTLIGHT Counterintuitive? Cardioid subwoofers
can be a bit claustrophobic. BY ADAM HILL
48 BUSINESS MATTERS Product and service diversifica-
tion in multifaceted worlds. BY PETER JANIS
50 TECH TOPIC Investigating the combining of near and
far field measurements. BY JOE BEGIN 12
EQUIPMENT
8 LOADING DOCK New subwoofers, firmware, mixers,
intercoms, preamps and more.
16 BACKSTAGE CLASS Examining frequency response in
kick drum microphones. BY CHRISTOPHER GRIMSHAW
38 ADVANCE NOTICE Inside the just-announced Allen &
Heath Avantis console platform. BY LIVE SOUND STAFF
46 FIRST LOOK Preliminary details on a recently un-
veiled QSC KS118 subwoofer. BY LIVE SOUND STAFF
54 REAL WORLD GEAR Subwoofer operating principles

22
and a look at recent models. BY LIVE SOUND STAFF

IN EVERY ISSUE Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 28 No. 10, is published monthly
by EH Media, LLC, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico
subscriptions are $60 per year. For all other countries subscriptions are $140 per year, airmail.
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6 FROM THE EDITOR’S DESK all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham,
MA 01701 USA. POSTMASTER: send address changes to Live Sound International, PO Box 989,
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64 BACK PAGE reserved. 2019 EH Media, LLC. Check us out on the web at http://www.prosoundweb.com.

4 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

Sound doesn’t scale.
Sound systems do. The sibling pair GSL and KSL sharing the
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intuitive operation. From small theaters and clubs to large
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of performance-enriching sound.

Read what users say at sl-series.com

More art. Less noise.

From the Editor’s Desk
A few years ago (LSI February 2016), we featured an excellent
profile by Kevin Young of audio professional and educator Adam
Hill, and in this issue, we’re pleased to present an article by Adam
regarding interesting things he’s found
in working with cardioid subwoofers.
The information he shares offers
another piece of the puzzle regarding
these increasingly popular devices.
Elsewhere, we’re joined again
by Robert Scovill, who details VCA
assignment strategies he’s developed
over the course of his work. Another
noted front of house engineer, Jim
Yakabuski, returns to provide his
thoughts on maximizing the transition area between mains
and subwoofers.
Becky Pell offers a great primer on touring in challenging
regions of the globe, while Ales Stefancic delivers invaluable
advice for vocalists and mix engineers alike. Also be sure not to
miss Christopher Grimshaw’s examination of kick drum micro-
phones as well as related observations.
Deploying a new rig at a festival? Michael Lawrence and Bill
Di Paolo did just that recently, and Michael tells us how it went.
And be sure not to miss Michael’s findings from his experiments
with RTA apps.
And as always, there’s much more. Enjoy the issue.
Keith Clark
Editor In Chief, Live Sound International/ProSoundWeb
kclark@livesoundint.com
On The Cover: Rob Thomas
performing on his current
tour, and we recently caught
up with the sound crew for a
behind the scenes look at their
approaches. (Photo Credit: Jim
Trocchio)
OCTOBER 2019 | VOL. 28, NO. 10
Live Sound International
111 Speen Street, Suite 200, Framingham, MA 01701
800.375.8015 | www.livesoundint.com
PUBLISHER Kevin McPherson, kmcpherson@ehpub.com
EDITOR-IN-CHIEF Keith Clark, kclark@livesoundint.com
SENIOR EDITOR M. Erik Matlock, ematlock@livesoundint.com
SENIOR CONTRIBUTING EDITOR Craig Leerman
cleerman@livesoundint.com
TECHNICAL EDITOR Michael Lawrence
michael@precisionaudioservices.com
TECHNICAL CONSULTANT Pat Brown, pbrown@synaudcon.com
CONTRIBUTING FEATURES EDITOR Phil Garfinkel
phil.garfinkel@gmail.com
PRODUCTION DESIGNER Samuel Clark, sclark@ehpub.com
CONTRIBUTORS: Becky Pell | Jim Yakabuski | Robert Scovill
Adam Hill | Peter Janis | Christopher Grimshaw | Ales Stefancic
Kevin Young | Joe Begin
ProSoundWeb.com
EDITOR-IN-CHIEF Keith Clark, kclark@prosoundweb.com
SENIOR EDITOR M. Erik Matlock, ematlock@livesoundint.com
PRODUCT SPECIALIST Craig Leerman,
cleerman@prosoundweb.com
WEBMASTER Ernie Black, ernie@prosoundweb.com
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Circulation and Customer Service inquiries should be made to:
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EH MEDIA, LLC
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EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSES
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REPRINTS: Wrights Reprints
ehpub@wrightsmedia.com | 877.652.5295
ProSoundWeb
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Stage Tec AVATUS Lectrosonics “X” For Duet

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Alcons Audio BF121
A subwoofer incorporating a single 12-inch
long-excursion woofer (double-spider suspen-
sion and 4-inch voice-coil), mounted in a vented
chamber. A large bass reflex port is designed to
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“reverse connection” in cardioid arrays. The BF121
is available in road and installation versions, the
latter without handles, wheel dolly board and M20
threaded stand-mount flange. alconsaudio.com
A firmware update for the company’s IEM/IFB system that adds AES 256-bit
CTR encryption for a data-secure version of the system. The TRNG (True Ran-
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generation passes all NIST SP 800-22
statistical tests for randomness. Four
different encryption key policies are
now available with the update, includ-
ing Universal, Shared, Standard and
Volatile, depending upon level of the
specific application and level of secu-
rity desired. It’s an “either-or” firmware
load for the Duet M2T and M2R units
– units cannot be booted up into a non-encrypted mode once they have this
firmware version. Only by re-loading standard, non-encrypted firmware into
the units can they be used in a non-encrypted fashion. “X” is available for
download via the company website. lectrosonics.com
RCF TT08-A II
The smallest member of the company’s TT+
Series is loaded with an 8-inch (2.5-inch voice
coil) neodymium woofer and a 1-inch (1.75-
inch voice coil) compression driver on a 90- x
70-degree rotatable horn. Stated maximum
sound pressure level is 128 dB. An active
design, it is driven by an onboard class D am-
plifier rated to deliver up to 1,000 watts (RMS).
Also onboard are the company’s proprietary
FiRPHASE filtering and RDNet networked man-
agement. rcf.it
Mackie ProFXv3
Upgrades to this line of analog
mixers with USB include the ad-
dition of the company’s Onyx mic
preamps, GigFX engine offering 24
effects, and 2 x 4 24-bit/192 kHz
USB recording. Also now included
is Pro Tools | First plus the Mackie
Musician Collection providing 23
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the 6-channel ProFX6v3, 10-channel
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and 30-channel ProFX30v3. mackie.com

Audinate Dante Domain Manager Version 1.1

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The ISO package can be used in virtual environments such as VMWare ESXi, Oracle
VirtualBox and Microsoft Hyper-V, or it can be installed directly onto a “bare metal”
server with no additional software required. V1.1 also provides improved email alerts
and notifications, support for SMPTE 2110 devices, and secure access to LDAP and
SMTP servers. audinate.com

8 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

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Clear-Com FreeSpeak Edge
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The scalable technology can support more than
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combined seamlessly with FreeSpeak II 1.9 GHz
and 2.4 GHz systems. Each transceiver supports 10
beltpacks and includes attenuation and external
antennas for custom RF zones, as well as wall and
microphone stand mounting options.
clearcom.com
A USB powered intercom microphone preamp for the company’s Livemix
personal monitor system that provides the ability to use an external dynamic
mic with the system’s built-in intercom. Any standard dynamic mic can be
used, and the LM-MICPRE also works with an optional FP-2 foot pedal. In
addition, the company has
released a free firmware
update that expands the
functionality of Livemix.
Rolled into the update are
improved mix saving, the
ability to add accessory
channels to groups, and an
expansion of the MirrorMix
function. digitalaudio.com
EM Acoustics EMS Series
All models in the loudspeaker line have
been given a new look, and there’s also
the addition of a 10-inch model, the
EMS-101X, that’s equipped with a new
10-inch low-frequency driver. All have a
newly developed 3-step polyurethane
paint finish that’s designed to be tough
and weather resistant. Outdoor versions
can also be supplied with stainless steel
grilles and weather-resistant connectors.
emacoustics.co.uk

Outline NEWTON V85 & V1.9

Version 95 firmware and version 1.9 software updates are now available for the
company’s processing platform. Upgrades include Rational Acoustics Smaart API
integration that provides an efficient way for users to integrate Smaart measure-
ment data into their Newton units and to plot it within the Outline Dashboard
software environment. Also new are Direct Transfer, offering an alternative way to
send data to any third-party measurement software or system; Group Overview,
allowing users to see how changes to parameters made on a group basis affect
individual channels; Audinate Dante fail-over implementation with a user-setta-
ble threshold; and Tablet mode. The new versions are available for download at
the App Store. outline.it

Symetrix Composer 7.2 for Windows

The latest version of the company’s programming software for Edge, Radius NX, Prism, and Solus NX processors adds a new Emailer
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In addition, amplifier monitoring and control has been added for the
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IP connections Control Server can host has been increased from 6
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10 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

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 Reality Check
CAN WE TALK?
What every singer should know
from a mix engineer’s point of view.
by Ales Stefancic
A
while back I wrote an article (LSI November 2018) offer-
ing advice to DJs from a sound engineer’s point of view.
This time around let’s focus on singers.
Let’s start with a pet peeve, something that I really want
to emphasize to all singers: please hold the microphone by its
handle. Somebody, somewhere, a long time ago decided that it
was OK to hold the mic by the its head, probably because this
particular pose looks “way cooler.”
We still commonly see this done by metal vocalists, rappers
and others who want that cool appearance on stage. That’s the
caveat, though. It might look better, but it sounds way worse.
The shape of the head is designed in such a way that it provides
directivity to the mic element, helping it pick up sound from
the front and reject it from the sides and the back, depending
on the type.
Holding the mic by its head causes it to A) lose all that deli-
cious directivity, B) make the sound much more prominent
in the midrange, and C) because of A and B, be more prone to
feedback. Unfortunately, there’s no magic button on any mixing
console that can magically fix these issues.
Sure, we can fiddle with the knobs and mask the effects of
this torture a bit, cutting out some of the most annoying fre-
quencies and filtering out the most disturbing feedback issues
from the monitors, but if the sound is distorted and mangled
at the input, there’s no amount of twiddling with the knobs
that will cure the problem.
Anyone who thinks I’m exaggerating this point should try
it out on their own. Use the same mic, sing the same song
and don’t change anything except the position of the hand. It
becomes painfully obvious – hold the mic by the body, and the
sound is clear and present, but start cupping the head and it
becomes nasally, distorted and, well, obnoxious.
Singers, the choice is ultimately yours – if you decide to cup
the head, be aware of what it does to your vocal sound and
don’t expect miracles to come from the person at the console.
A MATTER OF SPACE
Next, singers should understand how the distance of the mic
from their mouth affects their sound – and use this to their
advantage. Most handheld mics, regardless of brand and type,
are meant to be held about an inch away from the mouth, with
the mouth pointed directly at the center of the head.
12 LIVE SOUND INTERNATIONAL OCTOBER 2019
Moving the mic
further away thins Sure, it’s a nice photo, but what’s wrong
the sound because with this picture?
a lot of the low-end
frequencies get lost. Alternatively, moving the mic really close
can produce a very prominent boost in the low frequencies, a
phenomenon known as proximity effect.
As a mix engineer, ideally I like the distance between the
mic and the mouth to be as consistent as possible so that I
can dial in the vocal sound with greater precision. During live
performances this is a big ask, but by being aware of the mic’s
position relative to the mouth, singers can help me place their
vocal on top of the mix and keep it there.
Once singers have mastered keeping the distance relatively
the same, they can then experiment with creating deliberate
vocal effects by changing the distance, such as getting close for
whispers or moving further away for airy, distant soundscapes.
Mind you, even these movements can be minimal and still have
quite an effect on the sound.
PRACTICE MAKES PERFECT
Tip number three: to be really effective during sound check,
vocalists should sing into the mic consistently, even if they can’t
hear themselves. I still have major issues with singers approach-
ing the mic during sound check, saying check one, two, and
because they don’t hear anything, stepping away and waiting.
While I rarely ask singers to step up to the mic without having
at least some level ready for them, in situations where there
are time constraints and we’re trying to move as quickly as
possible, it’s not always an option. Plus, the behavior is usually
the same even if there is already some signal coming from the
monitors or the PA system.
So, singers, if you want to help your engineer during sound
check, just step up to the mic and start singing when you’re
asked to check your mic. Keep singing with the same loudness,
attack and attitude that you will use doing your performance.
Having the same content during the sound check allows us to
correctly set the input gain, dynamic processing, EQ, and also
your monitoring level. We can’t do that efficiently if we don’t
have the proper input. I suggest choosing a song beforehand,
singing it as you would during a show, and don’t get scared even
if you can’t hear anything. Keep singing until I ask you to stop.
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 REALITY CHECK

Here’s an added tip: When you hear yourself from either the
PA system or the monitors, raise your hand, letting me know
that you need more of yourself in the monitors. I will start
raising the levels until you give me the OK sign. That will cut
down sound check time even more.

SITUATIONAL AWARENESS
The next bit of advice is more advanced. Experienced live vocalists
figure out potential feedback situations and try to avoid them. I’ve
already mentioned that mics tend to be directional, meaning that
they pick up sound most prominently from the front. Pointing
the front of the mic away from any elements of the monitor and
PA system can greatly reduce the possibility of feedback.
This usually doesn’t happen intentionally. Maybe you simply
lower your mic-holding hand between songs or go meet a fan in the
front row and step directly in the path of a front fill loudspeaker.
Note: the same rule applies to any loudspeaker. Just take a moment
during sound check to look around and determine where potential
feedback sources might be located. By being aware of them and
moving either yourself and/or the mic away from them can help
ensure there won’t be any feedback issues during the show.
Bonus tip: in-ear monitors that you have taken out of your
ear can also be a potential feedback source. Try to prevent them
from getting too close to the mic.
Finally, train yourselves to perform with lower stage monitoring
levels. Reducing stage volume is something that helps mix engi-
neers immensely when shaping the sound of a live performance.
I suggest starting with the lowest possible monitoring level
where you can still discern all the timing and pitch information
you need. This helps engineers attain a more detailed sound with
less bleed from the monitors, lessening the chances of feedback
and adding more punch since your signal is not being masked
by a lot of ambient sound.
Ah, that’s much better – the head isn’t being obscured, and the
mic is positioned in front of the mouth.
Deliberately starting sound check and the performance with
lower monitoring levels gives us a better starting point for a
better overall sound. Keep repeating that mental exercise and
see how much you can actually reduce your monitoring levels
while still feeling comfortable and confident on stage.
An engineer’s job is to make the artist sound as good as pos-
sible in a given situation, but we can only do so much. When
singers apply these strategies on stage, it makes for a much
better sonic experience for the audience, which is always our
common goal. LSI
Ales Stefancic has served for more than 20 years as a front of
house/monitor engineer in addition to being a technical director and
mix engineer for the band Siddharta. Based in Slovenia, Europe,
he’s also a musician and project studio owner. Go to gainmedialab.
com for more of his articles and a roster of upcoming online courses.

14 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 Backstage Class

CONTOURED OR NOT?
Examining frequency
response in kick drum
microphones.
by Christopher Grimshaw

K
ick drum microphones are a
subject that will split opinions.
Some people like the Shure BETA
52A, while others like the Audix D6, Elec-
tro-Voice RE20 or the beyerdynamic M 88
TG. There are also still fans of the AKG
D12, although working examples are get-
ting rare these days. Those that do work
are often quite different to each other – a
few decades of kicking around will do that.
It’s easy enough to divide these mics
into two discrete camps: those that have
a colored frequency response, and those
that are relatively flat. The pre-equalized
models hope to achieve something use-
ful – in theory, put the mic into position
and it delivers a good kick drum sound
straight off the bat. Sounds great, right?
In this article, I’ll be looking at some
of the mics in question and examining
why we might (or might not) want to use
a pre-EQ’d kick drum mic.
PRONOUNCED EFFECT
Let’s consider the case for pre-EQ’d (“con-
toured”) mics. The idea is that the mic has
a particular response curve, and that curve
will sound good when used on a kick drum
– all you need to do is push the fader. I
can see the appeal, particularly if one is
seeking an easy route to good results.
There are lots of examples of such mics,
but the trend is a large dip centered on
the lower-midrange and often a boost
toward the treble. Sometimes it’s a peak,
sometimes it’s a high shelf. Each curve
will give the mic its own personality –
there are lots of comparisons available to
listen to online, and I recommend having
a listen to those.
Recently, I had the
opportunity to make
a direct comparison
between a couple of
mics (one heavily con-
toured, the other very
flat) in a live situation.
The venue’s mics pack contained a con-
toured mic normalized to <80 Hz content,
the 150 Hz – 1 kHz region is around -10 dB
while above 5 kHz is at +10 dB, resulting in
20 dB difference from one end to the other!
It’s one of the more extreme examples,
but such numbers aren’t unheard of. The
effect is very pronounced, though, and
makes all kick drums sound very similar
– instead of allowing the instrument’s
own tonality to come through, the mic
strongly imposes its own signature on
the sound (Figure 1).
In action, the sound is as you’d expect:
lots of “click” and a bit of low end. I can
see that sound being useful in some sit-
uations; for example, heavy metal with
lots of double kick action might benefit
from the clarity that the treble boost
would bring.
However, that wasn’t the sound I
wanted for a 4-piece rock band. Push-
ing the fader to try to get more low end
into the venue meant the treble became
overbearing, and I had to resort to some
“heroic” EQ to get a more balanced sound.
Even with the treble cut down, the kick
still lacked the punch that it ought to
have – almost certainly due to the atten-
uation of the upper bass (and lower mid-
range) frequencies that’s baked into this
particular mic.
BIG DIFFERENCE
After running with that for a while, I
swapped in a different mic and flattened
Figure 1

16 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

the EQ. It was a large-diaphragm con-
denser with a response that’s much flatter
and extends very low into the bass region.
The difference was immediately obvious –
the overall balance was much improved,
with more punch and weight (which I’d
attribute to the flatter lower midrange
and extended low bass, respectively).
Also, while the attack in the treble
was present, it wasn’t overpowering the
sound of what ought to be a bassy instru-
ment. Without having to apply any EQ
at all, I already had a much better sound.
Another example: I also tried a Sennhe-
iser e 904 on kick. Now, it isn’t a natural
choice for this application – the mic gets
down to about 80 Hz before starting to roll
off, and proximity effect can only help so
much. Due to this, it tends to be used for
snare/toms/brass where low-frequency
extension isn’t so important.
The result, however, was still pretty
usable: while it didn’t have the bot-
tom-end extension of a more suitable mic,
www.ProSoundWeb.com
An AKG D12E, dating back to the 1970s.
it did capture a very dry and punchy sort
of sound, thanks to the linear response
through the upper bass – a stark contrast
to the contoured model.
I think there’s a faulty assumption
behind the contoured mics, and it’s this:
kick drums come in all shapes and sizes,
and drummers tune their drums accord-
ing to their playing style and genre. There
is no single “kick drum contour” that will
fit everyone, so what are we to do? Buy a
OCTOBER 2019
mic for every genre? Sounds expensive.
The solution I’ve arrived at (and I must
note that I’m not alone here) is this: use
a flat mic with a neutral response. The
idea is simply that if the mic captures the
entire frequency range of the instrument,
it leaves the engineer completely free to
decide how the kick drum should sound
to the audience. Starting with a clean
slate, so to speak.
There are lots of engineers getting
great results with mics that don’t have
that extreme contour built-in, and that’s
because they know when the contour is
needed and (perhaps more importantly)
when it isn’t. My suggestion to you, dear
reader, is to give it a try some time –
instead of a “scooped” mic, try something
flat and see what you’ve been missing. LSI
Christopher Grimshaw is a long-time
audio professional and the founder/owner
of Grimshaw Audio (grimshawaudio.com),
based in the U.K.
LIVE SOUND INTERNATIONAL 17
 Feature

UP FOR ANY VARIABLES

Checking in with
the sound team
for the latest
Rob Thomas
tour.
by Kevin Young,
photos by Jim Trocchio

F
or Rob Thomas’ current inter-
national tour in support of Chip
Tooth Smile the audio crew are Rob Thomas and band in concert on the current tour.
fully loaded – literally. “We’re hauling
everything,” explains front of house engi- To determine angles and the number the stage to hit the first five rows on each
neer Mark Chase. of cabinets required for each show, Chase side and cover the gap between the mains
That’s a necessity given that the venues uses Adamson Blueprint AV predictive and out fills.”
they’re playing vary widely, from theaters simulation software. “And that’s calcu- When the E12s are deployed for out
and clubs to 9,000-plus capacity venues lated for each venue and changes daily,” fill it’s a 6-box hang per side, Chase adds,
like the Mohegan Sun Casino Arena. “And he says. “At Mohegan Sun, for example, but they do double duty at times, when
everything in between,” Chase adds. “We we had the main hang of E15s, the E12 flown as the bottom three cabinets for
have about five different setups because out fills, four iS7P front fills and then the main array. Generally speaking, he
there are venues where we’re using the the SpekTrix (four per side) on the same adds, the tour flies the E15 arrays 28 to
house PA, venues without anything – where plane as the front fills. The SpekTrix were 30 feet off center, with three E219 subs at
I fly all of the Adamson cabinets I need – stacked on top of the subs facing at more 32 feet off center: “With the E15s, we’re
and mix and match setups where I’ve gone than a 45-degree angle off the center of in the 63 Hz range of what they will do,
with the house array and amplification but
used our front fills, for example.”
The Adamson Systems Engineering main
rig, provided by Southern California-based
Sound Image, includes up to 36 E15 and
a dozen E12 3-way line array modules
joined by six E219 dual-19-inch subwoof-
ers. Eight iS7P point source enclosures and
eight more SpekTrix loudspeakers can be
deployed for out- and front fill, respectively.
Typically, Chase flies the main arrays
as far downstage as possible, as Thomas,
guitarist Frank Romano and bass player
Al Carty spend a lot of time pushing the
front of the stage. Beyond that, however,
he notes, “Other than each array being
hung on two motors, 42 inches apart,
using the same fly hardware, every day
it’s a whole new ballgame.” Front of house engineer Mark Chase getting things set on his DiGiCo SD10 console.

18 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com


Top to bottom: monitor engineer Jeremy
“Spud” Groshong, production manager
Andrew Crow, and monitor tech Morgan
Despot.
so the subs cross over at 63 or 70 Hz to
add what I’m looking for in low end – I
want you to feel the kick, the floor tom,
the bass and low frequencies from synth
world, anything that causes air to move.
It’s amazing what those subs do.”
It all depends on the environment and
venue, production manager Andrew Crow
puts in: “In a lot of theatres we’ve used
house PA. And often they have upper bal-
conies, which – even carrying as much PA
as we are – we don’t even have enough
for.”
The main arrays are driven by a dozen
Lab Gruppen PLM 5K44 amplifiers
(“Enough to drive 18 E15s,” Chase notes.)
joined by two Lake LM 44 processors.
Another pair of racks of four PLM 5K44
amps per side power the out- and front
fill loudspeakers.
www.ProSoundWeb.com
Getting one side of the PA’s Adamson arrays set prior to a show.
Finally, the E219 subs are arranged in
a cardioid configuration and driven by
PLM 20K44 amps. “I’m really only firing
four subs forward so I’m lessening my
sub load,” Chase says. “But it’s incredible
what those 219s reproduce.”
KEEPING IT STRAIGHTFORWARD
The sound team has adopted a lean
approach when it comes to the mix of
Thomas and the seven-piece band, includ-
ing no use of plugins. “Plugins do incred-
ible things and you can make amazing
things happen with them, but I don’t
need them to make the gig work,” Chase
explains.
Beyond the desire to present as nat-
ural sounding a show as possible, it’s a
decision informed by issues he’s previ-
ously faced. “I’d be mixing and suddenly
the mix changes and I’m like, ‘What do I
hear? What did I do?’ Nothing’s failed, or
come unplugged, the microphone didn’t
explode, so you go down the rabbit hole
trying to find out what’s happened and
then, suddenly, it’s back to normal.”
Other mix engineers have experienced
similar issues and chalk it up to “digital
polyphony,” similar to what keyboard
players experience when they exceed the
number of notes a given instrument will
generate simultaneously. Chase: “What’s
happening is that the computer is saying,
‘I need to allocate more DSP. What can I
use?’ And you’re thinking, ‘Why did 250
OCTOBER 2019
to 475 Hz just disappear from my snare
drum tail?’ Even with multiple DSP cards,
the digital ‘death wheel’ on the computer
would begin to spin. It may not happen
every day, but it will happen.”
Ultimately he came to the conclusion
he should be able to mix a great sound-
ing show depending pretty much on the
console alone. With the exception of two
channels of Rupert Neve Portico 5045
source enhancer (one for Thomas’ vocal
and the other for Ayo Awosika’s back-
ground vocals), he’s also not carrying any
outboard gear.
CHANGE OF PACE
For production manager Crow – who also
mixed monitors on the tour until recently
– this approach is a perfect fit. “I’m not
a heavy plugin user, period. For me it’s
a workflow thing. We fall in the 70- to
75-input range, which isn’t huge,” he says,
adding that there’s a lot going on onstage.
In addition to drums, bass and guitar, the
band includes two backup singers and two
multi-instrumentalists, Korel Tunador and
Matt Beck, on keyboards and guitars as well
saxophone and pedal steel, respectively.
“There’s a drum reverb, two vocal
reverbs and a guitar reverb – that’s it – all
from the DiGiCo SD12 monitor console,”
Crow continues. “That suits me best as a
monitor guy. There are a couple of plugins
that are ‘go-tos’ in the right instances, but
this band doesn’t have those instances,
LIVE SOUND INTERNATIONAL 19
 FEATURE
Crew members moving one of the Adamsom E219 subwoofers
into position.
and we’re fortunate to we have really
great players. It’s a very dynamic band.”
Put simply, the approach is predicated
on “good in, good out,” Chase says, and
it’s an approach the audio crew sup-
ports wholeheartedly. “You can get a
great-sounding show with or without
plugins,” says monitor tech Michael Pol-
lard, “but without them there’s one less
point of potential failure. So it’s freeing
in a way, not being tied to plugins to
make or break the show. From a technical
standpoint it’s more secure and from an
operational standpoint, it’s a change of
pace as a tech – It’s basically about doing
preventative maintenance and keeping
mixes up, and the band is really happy
with it.”
Jeremy “Spud” Groshong, who joined
the tour as monitor engineer in July
2019 to free up Crow to focus purely on
production management, joins the con-
versation. “If you can’t make it sound
good with the desk it’s kind of pointless.
Even on my other gigs I try to do that,
and Andy and I came up learning audio
at the same clubs, so we have a similar
way of thinking about it.”
Like his teammates at monitors, Chase
is mixing on the DiGiCo platform as well,
utilizing an SD10 surface. He explains that
he made the switch to DiGiCo in 2011 on
the advice of fellow sound engineer Toby
Francis, in part owing to his desire to avoid
the pitfalls of digital polyphony.
20 LIVE SOUND INTERNATIONAL OCTOBER 2019
Loudspeakers are driven by a powerful Lab Gruppen amplifica-
tion package.
Crow notes, “I’m not typically a DiGiCo “I really like the way they work
user, but our monitor engineer had one together,” he explains. “The D6 adds the
last year when I was doing Stone Temple air and movement in the subs I want, and
Pilots and I liked the platform and the the 901 gets a good tone. So on a song-to-
two screens. Also, Mark is an extreme song/snapshot basis, I can easily change
DiGiCo user, so we wanted consoles that the kick’s character. On hard rocking, pop
matched front and back.” songs there might be a little more high
end – a 3 to 6 kHz boost on both mics to
MIXING & MATCHING get some of that ‘metal’ click that puts a
In-ear monitoring is delivered by a combi- definite shape around it.”
nation of Sennheiser and Shure systems. By contrast, Thomas’ version of the
“The IEM package is Matchbox Twenty’s,” song “3AM” is more acoustic than the
Crow explains. “So we’ve updated
rather than redo it, but we may
revisit that next year.” Additional
monitoring reinforcement on the
stage is delivered by L-Acoustics
ARCS loudspeakers that serve
as side fills. They’re also utilized
where cross fills are preferable
to front fills owing to sightlines
and/or the proximity of the audi-
ence to the stage.
Chase and Crow worked closely
to determine the microphone
package, basing it upon what the
band’s used long term as well on
the “good in, good out” ethic. “I
wanted mics that are transparent
and/or compliment the sound I’m
putting them in front of,” Chase
says, citing specific choices such as
the combination of a Sennheiser
e 901 (inside) and an Audix D6 Wireless central headed up by Sennheiser and
(outside) on the kick drum. Shure systems.
www.ProSoundWeb.com
Matchbox Twenty version, Chase con-
tinues: “So I don’t need a really big kick
drum, or a snare drum with a ton of
attack, because our drummer, Abe Fogle,
is switching between hot rods and sticks.”
A long time Sennheiser user, he’d
intended to employ Sennheiser e 604 and
e 904 dynamics on toms, but wanting
something smaller, instead went with
Earthworks DM20 condensers. “Not
because we were worried about Abe hit-
ting them,” he notes, “but because the
ride cymbal is really close to the edge of
tom two, and also I didn’t want pick up
a bunch of hi-hat on tom one. It’s the
first time I’ve used Earthworks mics, but
they look similar to the Shure BETA 98.
We mounted them with Shure clamps so
they’d be out of the way of the hi-hat and
cymbals but still over the drums.”
Speaking of the BETA 98, two of them
are applied to floor toms. Chase says that
generally he prefers mixing and matching
to mix and match various mic brands:
www.ProSoundWeb.com
“Here’s a funny one – we’re using a Senn-
heiser 906 dynamic guitar mic under the
ride cymbal. We’d been doing it with a
614, but it failed and the only mic I had
close by and easy to get to was the 906. I
was laughing during the show thinking, ‘I
have the greatest ride cymbal anybody’s
ever heard and what did I do?’ I high- and
low-passed it at 150 Hz and at about 3
or 4 kHz because cause there’s nothing
up in the top of the ride I needed. I really
like it on ride cymbal.”
HEAD ON A SWIVEL
Overall it’s about what’s right for the gig,
and right for Thomas. Based upon years
of fronting Matchbox Twenty and his solo
work, as well as writing with the likes of
Santana, Mick Jagger and Willie Nelson,
the lead performer clearly knows how he
wants his music and his band to sound.
“Rob’s done an amazing job of putting
a band together,” Chase says. “A lot of
what I do is just shaping their sounds.
OCTOBER 2019
For Frank, the lead guitar player, I’m only
rolling up the high- and low-pass filters,
starting the guitar at about 100 Hz and
then stopping it at 2 or 3 kHz.
“As far as changing tone goes, I look
at the resonance in the room as a daily
thing. In older theatres with no air condi-
tioning, there’s no real resonance, but in
places with HVAC pipe throughout, 100
or 200 Hz energy resonates and rings,
travelling through the pipe.”
It all comes back to Thomas’ skills
as an artist and front man, concludes
monitor tech Pollard. “Rob is one of the
most dynamic live performers I’ve worked
with. I have to keep my head on a swivel
because if I look away from the stage for
a second he’ll be out at front of house.
But the dynamism on stage keeps us on
your toes in the best way possible.” LSI
Based in Toronto, Kevin Young is a free-
lance music and tech writer, professional
musician and composer.
LIVE SOUND INTERNATIONAL 21
 Gig School
“Is this the way to the loading dock? Catering??”
THE PATH LESS TRAVELLED
Successful
touring in less-
developed parts
of the world.
by Becky Pell
T
he opportunity to tour off the
beaten track sounds exotic and
exciting, a chance to go to places
that you’d never see otherwise and get
paid for the privilege. While you’ll cer-
tainly have unique experiences and return
home a more capable engineer, touring
in developing countries can be extremely
challenging.
I’ve been touring in unusual territo-
ries for 15 years and I’ve just returned
home from a tour of Southeast Asia with
my current band, so I’ve picked up a few
tips over the years. I hope sharing them
here will help make your experience
22 LIVE SOUND INTERNATIONAL OCTOBER 2019
of touring off the usual circuit a little
smoother.
KEEP IT SIMPLE
As with any tour, the pre-production work
starts long before you hit the road; but
things can take longer in less-developed
regions, so you need to start early. Spend
extra time creating your technical rider
to leave no room for confusion.
Keep the language as simple and con-
cise as possible, with no slang terms –
remember, the people reading it likely do
not have English as their first language
– and photos within the document can be
a useful addition to illustrate a point. The
same goes for emails – keeping it simple
means fewer misunderstandings.
BE SPECIFIC
It’s a good idea to offer a few different
options for locally supplied equipment
such as PA, console, etc., and if a partic-
ular software version is needed, be sure
to highlight it. It’s not uncommon for
local companies to respond to a rider
with “Yes, all fine.” This can be a trap!
Some countries have a strong culture of
“saving face,” meaning they’ll agree to
whatever you like on paper in order to
get the gig and look good, and you won’t
find out until you arrive that there have
been substitutions.
For this reason, I recommend asking
them to detail exactly what they intend to
supply – don’t settle for “Yes, all fine.” Be
aware that local promoters might look out
for their own interests by giving work to
companies they have relationships with.
This can mean you’ll be told that some
items are not available in their region,
when actually their preferred company
just doesn’t stock that equipment.
If you feel that you’re not getting the
whole story, be prepared to dig a little
deeper, perhaps with the manufacturer,
to see who carries what you need in a
given area – it can be useful to have con-
tacts for the product support team for
each region anyhow.
Specify things that normally go without
saying, from the technical to the ancillary
www.ProSoundWeb.com
Firenze-KH7 state-of-the-art touring system | k-array.com

Perfect for live sound and touring, the Firenze-KH7 is an electronic beam steerable,
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that can be flown vertically or horizontally. A system of 8 KH7 per side was recently used
for Rome’s Primo Maggio festival which had over 50,000 people in attendance.
 GIG SCHOOL
such as adequate waterproofing and work
lighting. I once walked on to a stage to
discover that every single wedge sounded
different. I asked the local folks to show
me the amplifiers, and lo and behold, every
wedge was being driven by a different amp
as well as different crossovers!
These days I specify wedges that come
as a turnkey package with the amps,
but where appropriate I say some-
thing like, “All amps to be identical” or
“All either option A or B, no combina-
tions.” Have the promoter put you in
touch with the supply company for every
show and ask them to send you the loud-
speaker design file (i.e., d&b ArrayCalc,
L-Acoustics SoundVision, etc.) files for
what they intend to put in the venue.
It’s common to find that the projected
amount of PA is sub-optimal to keep costs
down – you may have to push for more
boxes to insure adequate coverage. It’s
also not unheard of in certain countries
to discover that some equipment is a copy
brand – yes, fake PAs are out there!
CARRY THE VITALS
It’s worth carrying some equipment if
possible – for example, with my current
band we carry all of the wireless micro-
phone and in-ear monitor systems we
need, the necessary antennas and asso-
ciated cables, and even the multi-pin XLR
tails to get in and out of the units. This
means that the band gets consistency
with the equipment that they’re actually
in contact with.
Of course, you’ll need to specify your
power requirements, and in the case of
RF be sure to check that your frequency
bands can be used in that country – the
wider the bandwidth you carry, the bet-
ter. If you go down this route it can be
cheaper and safer to use the services of a
touring freight company such as Rock-It
Cargo rather than have the daily check-in
wrestle with scheduled flights and excess
baggage costs.
GET AHEAD
It’s a great idea to arrange advance
visits and maybe even advance teams.
The scheduling on my recent tour, fly-
ing between international back-to-back
24 LIVE SOUND INTERNATIONAL OCTOBER 2019
shows, meant that it simply wasn’t pos-
sible for the core crew to get the show
happening in time each day.
We returned a couple
of hours later to find
no change except
for a dead chicken
alongside some
incense and flowers at
center stage.
The solution was to have two small
advance teams, each consisting of a sound
tech, lighting tech and video tech, who
would leapfrog each other ahead of the
core crew and get things up and running.
We also had two sets of our carry gear.
If your scheduling isn’t that tight, it’s
still worth getting to the venue as soon as
you can on arrival. Even if your show is not
for a day or two, setup typically takes sev-
eral days in less-developed regions, and so
it’s better to get in there early with time to
make changes rather than arrive on show
day and find that everything is wrong.
BE PREPARED
Pack a small toolkit in your checked bag-
gage with some “get out of jail” items. My
must-haves include a multi-meter (mea-
suring power can save lives), an RF scan-
ner, and a Leatherman multi-tool, as well
as wipes and a paintbrush for consoles that
may not have been cleaned for some time.
KINDNESS ALWAYS WINS
Be kind and patient with the crew from
the local supply companies. The more
remote you go, the less experience the
local techs will have. Sometimes you’ll
stumble upon an ambitious gem of a
tech; sometimes they’re folks just try-
ing to feed their families. If there’s an
obvious gap in knowledge, try to see it as
an opportunity to share education rather
than a cause to get angry.
If things are not as you expected (and
my advice is to keep all your expectations
low), it’s probably not the fault of the
people who are actually there but of those
higher up. It can get very frustrating,
especially when you’re tired, but trust me:
you’ll catch more flies with honey than
with vinegar. Smile, make eye contact,
learn names and keep your cool.
In really poor areas the crew might have
been sleeping on flight cases at the venue
for days and not have been fed, and they
also may be there for a long time loading
out after you’ve gone. If you see that’s the
situation, when you’re leaving the venue
after the show it can be a nice touch to
take excess food and drinks from the
dressing room riders out to them. Items
such as a cold drink and a snack, which we
take for granted, can make a very welcome
difference to someone’s night.
EXPECT THE UNEXPECTED
When touring in developing regions you’ll
come up against challenges that hadn’t
even occurred to you, despite all your best
preparations. The local way of dealing
things is often not what you’re used to.
On one tour we walked away from an
unsafe stage structure requesting the rel-
evant people to amend the problem. We
returned a couple of hours later to find no
change except for a dead chicken alongside
some incense and flowers at center stage.
We were informed by the delighted
local promoter that everything would
now be fine as this offering had been
made and the “stage gods” were duly
appeased. Needless to say, we had to
walk away again while a more pragmatic
remedy was applied.
The most vital things to bring on these
adventures are a positive attitude and a
sense of humor. Apply them liberally and
you’ll come back from a tour of remote
regions better at your job and with some
truly unique experiences under your belt.
Happy touring! LSI
Becky Pell is a monitor engineer with more
than two decades working with live sound. She
toured as a monitor and RF tech with Black
Crowes, Travis and Kylie Minogue before
moving behind the desk to mix monitors for
artists such as Aha, Muse, Westlife, Anasta-
cia and Take That. Read more from Becky at
SoundGirls.org and on ProSoundWeb.
www.ProSoundWeb.com
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 Insight

WHAT THEY DO BEST

Detailing highly
useful VCA
assignment
strategies.
by Robert Scovill

I
n my previous article on group-
ing concepts (LSI July 2019), I
focused on the numerous bene-
fits of using audio subgroups as submas-
ters to a master L/R bus on digital and
analog consoles. I knew going in that I
was unlikely to have the available word
count to include a comprehensive discus-
sion of VCAs, so here’s a “part B” based
on that subject matter.
As I previously stated, when I’m
deploying submasters, my group mem-
bership is always in the context of any
number of instruments and inputs,
including parallel paths and effects
returns, constituting a “family ” of
instruments, i.e., all drums, all keys, all
backing vocals, etc. In doing so, the sub-
master then becomes a “master volume”
for the fully processed and pre-mixed
version of the given family. Once done, a
“family reunion” then takes place at the
master bus in a nimble, well-organized
and gain optimized stereo mix.
But when I move to VCA assignments,
my thinking shifts into an agenda focused
on an individual player as opposed to a fam-
ily of instrument types. In this approach, I
use VCAs for what they do best, and that
is, remote control of multiple faders. The
benefits are numerous, especially in the
context of large I/O count digital consoles
operated with a small and finite number
of physical faders.
PUSH OF A BUTTON
Here’s how I approach VCA assignment
when placing a single fader in control of
a player. Let’s say it’s for a guitar player,
and during the show, this guitarist plays
a multitude of instruments – electric gui-
tar, of course, along with acoustic guitar,
banjo and mandolin.
But get this: he also plays tambourine
on one song and triangle on another. And
if that’s not enough, he plays a keyboard
stationed right near his microphone stand.
Here’s where the power of VCAs shows
up. Take one VCA, name it the player’s
name, and assign every one of those
inputs to it. Once done, I then know that
no matter what instrument he picks up
and plays, and no matter when he plays
it, if I have my finger on or near that
fader, I have immediate control of his
balance against the other instruments
in the mix. No searching through layers
to find an input in order to grab and mix
it; just simply turn him up or down using
the VCA as a remote control for all of his
instrument faders.
Of course, there are a couple of sug-
gested ground rules to be considered
when doing this, primarily because you’re
now moving all of his input faders up or
down in level when you’re mixing “him.”
So it’s a good idea to have the instru-
ments that he is not playing muted and
only have the instrument he is playing
unmuted.
These inputs may very well be scattered
across multiple layers on a digital console,
so how do you get to them immediately
to ensure the right input is unmuted?
The answer is to take full advantage of
the navigational capabilities of VCAs in
modern digital consoles and “spill” that
VCA. The spill collates the faders in front
of you with all of the inputs assigned to
that player’s VCA.
Now, at the push of one button, you
can immediately discern which inputs
should be muted and which should be
unmuted. Once done, release the spill
and carry on mixing as you normally
would.
If you take me at my word from the
previous article on submasters, what

26 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

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 INSIGHT
should be immediately apparent is that
in this multi-instrument example, the
player’s range of inputs actually spans
across multiple submasters, meaning he
has active inputs in the electric guitar
submaster, in the acoustic guitar sub-
master, the drums or possibly percus-
sion submaster, and even the keyboard
submaster.
But that’s where they should be,
because their gain has been optimized
before entry into the submaster, and
their overall volume in the PA is set by the
submaster level. You’re now just mixing
him with that VCA at the right overall
level regardless of which instrument he’s
playing.
MORE METHODS
That’s just the tip of the iceberg for VCAs
– there are tons of other great uses for
them. Here’s just a smattering of how I
regularly deploy them.
Remember, VCAs can be remote con-
trols for any audio input or output fader.
And it’s also very important to remember
that audio does not pass through the VCA
fader like its submaster cousin. So with
that in mind, here are few examples of
really handy VCA uses to more efficiently
manage a show and mix.
If you have a matrix-driven PA system
built inside your console, i.e.. main PA
matrix, side PA matrix, front fill matrix
and so on, take a single VCA and assign all
of those matrixes it. Once done, it’s now
a “grand master” fader for the PA system.
You can then adjust the overall volume
of the PA without addressing the master
fader or having to alter gain structure
previous to the master bus in any way
in order to set an overall “volume” for
the system.
Need to change the blend between the
PA systems? Easy. Just spill that VCA
and make adjustments quicker than you
ever dreamed possible and then carry
on mixing.
Maybe you’re just driving the main
PA directly from the master L/R bus,
but you’re also driving the subwoofers
from an aux send. Often, the challenge
with this deployment is that moving
the master L/R up or down changes the
28 LIVE SOUND INTERNATIONAL OCTOBER 2019
balance between the mains and the subs.
And maybe more importantly, this alters
the acoustic crossover between them
as well.
So, take the master L/R fader and the
aux master fader that’s driving the subs
and assign them to a single VCA. Once
done, you have a grand master for the
entire system that will keep the relative
balance and the acoustic crossover con-
sistent regardless of volume.
In addition, using my submasters
approach opens up a really fantastic
workflow by also assigning all of the
submasters that are “music,” i.e., any
submaster that does not contain vocals,
to a single VCA. Once done, you have
a single fader controlling how loud the
music is at any given time.
If that VCA is sitting at unity, then
there’s no change from where the sub-
masters currently sit. But any time you
feel the mojo, you can change the volume
of the music with this single fader, and do
so in high resolution because of its unity
position in the fader throw.
This becomes a very effective mixing
tool for establishing, and more impor-
tantly “riding” the relationship of music
to vocals, whereby simply pulling this
“music master” down by .5 dB or so easily
“reveals” the vocal. Or in contrast, when
it’s a big musical section, turn the music
up without any ill effects on gain before
feedback on your vocals. Once done,
put that VCA right back to unity and it
is right back where you were before. It’s
intoxicating once you start doing it, and
incredibly effective.
MAINTAINING THE BLEND
The last concept I’ll share here is the
result of the ongoing development of
modern digital consoles, where VCAs can
now be used in conjunction with a sends
on faders (SOF) mode to trim aux lev-
els of faders that are assigned to a given
VCA. This was primarily developed to
allow monitor engineers to have some
group control within their aux driven
monitor mixes, but I’ve been using it
more and more at front of house now that
my preferred Avid VENUE S6L platform
offers this capability.
All S6L mix systems offer large num-
bers of VCAs, so I now dedicate a num-
ber of these VCAs to this workflow. For
example, if I have an aux bus driving par-
allel compression for drums, I assign the
inputs used in that aux bus to a VCA. If
I ever need to adjust the gain structure
of those aux levels that are driving into
the chain of processing, I call up that aux
in SOF mode and then use the assigned
VCA to “trim” those aux levels.
The VCA is going
to take on
more and more
powerful control
as technology
and workflow
demands march
on
Doing it this way leaves the blend per-
fectly intact – but it adds or subtracts
level to that processing chain by the
subsequent amount of VCA adjustment.
Fantastic!
Luckily in today’s digital consoles, VCAs
are plentiful and getting more and more
abundant. To make matters even better,
the VCA is going to take on more and more
powerful control as technology and work-
flow demands march on. And that’s why
I don’t like to see folks using (dare I say
wasting) them as the de facto alternative/
replacement for the submaster.
OK, get to work and make it sound
good out there! LSI
Robert Scovill is a 35-year veteran of
professional concert sound and recording
and has mixed more than 3,500 events in
his career for noted musical artists such as
Tom Petty and the Heartbreakers, Match-
box Twenty, Jackson Browne, Rush, Def
Leppard, Prince, and many others. His body
of live sound and recording work has gar-
nered numerous industry accolades including
six TEC Awards for technical and creative
achievement in sound reinforcement.
www.ProSoundWeb.com
 s 12x N
o ' Knot L8 B
Pile arre
ls
 Talkin’ Yak

CRITICAL CROSSOVER
Getting the
most out of the
transition area
between subs
and mains.
by Jim Yakabuski

I
think most live mix engineers
agree that a solid, thumping low-
end response in pop and rock
music is the standard and a preferred
sonic outcome. However, the techniques
we use to get that nice round sub bass low
end are not always agreed upon.
The subject of low frequency “tilt” in
PA systems is interesting in and of itself,
and one that is discussed and debated
increasingly by mix engineers and sys-
tem specialists. Further, it’s dictated by
many of the most popular sound system
manufacturers today. When a modern
line array PA system with complimentary
subwoofers is deployed and the recom-
mended system settings are recalled from
its proprietary processor, the resulting
frequency response is usually quite even and sound company owners the oppor- On my most recent tours with Match-
from 20 kHz down to around 200 Hz, but tunity to provide PAs for smaller music box 20, Peter Frampton, Journey, and
then a substantial “tilt” occurs from 200 events that don’t need subwoofers to Gwen Stefani, I’ve been experimenting
Hz and down. produce a big, round sound. Leave the with “un-tilting” the PA more and more,
I believe this built in low-end exagger- subs at the shop and lower the budget for using the tools provided in modern sound
ation is a “modern day default” from the the client while saving some truck space. system processors and software. These
manufacturers and designers to provide T h e m e r i t s a n d p re c a u t i o n s o f tools include Array Morphing provided
a fuller, rounder starting point based on pre-building such a mountainous low-end with L-Acoustics amplifiers and LA-Net-
studying many engineers’ final results tilt are well worthy of further debate and work Manager software, Array Correction
after tuning sound systems for music. All discussion in our industry. (See “The Right within the Meyer Compass/Galaxy, and
one needs to do is visit a rock, pop, R&B Tilt” in LSI April 2019 and on ProSoundWeb the CPL tool provided with d&b Audio-
(or EDM) music festival to hear the sim- for further discussion on this topic.) technik R1 software.
ilarities in the sound system responses But here, let’s go deeper (pardon the I appreciate that the “out of the box”
from stage to stage. There’s a lot of low- pun) and explore the following ques- thunder is still there if I want it; I’ve just
end going on, people! tions: “To tilt or not to tilt? And if so, been approaching things differently lately.
how much?” For answers, I want to focus I prefer to tame the big tilt in the speak-
THUNDER ON DEMAND on the very critical crossover frequency ers and reduce the sub bass level so that
I also believe the tilt in the main loud- area between the subs and the low-end the amplitude of both low-end sources
speakers (excluding subs) gives engineers of the main PA. sits just a couple dB up from where the

30 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 TALKIN’ YAK
The frequency response of a modern large-format PA system “out of the box” showing a huge LF tilt-up.
mids and highs are living. Then, to bring
the overall mix back around to round and
punchy, I add the low-end fullness back
into the console mix.
It’s important to remember at this point
that while tuning the PA with Rational
Acoustics Smaart or your analyzer of
choice, each loudspeaker array will con-
tribute to the overall low-end tilt when
added to the other arrays, so be mindful of
low-end build up as the entire PA is pieced
LA16-35
32 LIVE SOUND INTERNATIONAL OCTOBER 2019
together to cover all the seats in the lis-
tening area. Of course, this includes subs.
I almost always start my tuning pro-
cess with only one side of the main flown
(or stacked) loudspeaker array. (Let’s
assume we’re listening to house right.)
If we begin with the default preset for
this loudspeaker system in the processor
and turn it up for evaluation, we’ll most
likely find a pretty large tilt in the lower
frequencies beginning around 500 Hz and
LA12-18
LA12-25
rising continually as we descend down to
the 60 – 50 Hz range.
My new approach is to tame down any
substantial rise in the low-end when com-
pared to where the mid and high frequen-
cies are residing. With most systems, the
trace, when viewed in Smaart’s Transfer
Function mode, appears quite flat from
20 kHz on down to 60 Hz, with only the
smallest tilt in the lower frequencies (200
Hz down to 60 Hz).
TAKING IT FURTHER
The process continues with the addition
of other arrays. When the house right
subs are added to the house right mains, I
set the level to “lock on” to the lowest fre-
quencies of the main PA and add in only
what is missing below that with similar
amplitude. In most cases the subs have to
be turned down quite a few dB from the
suggested manufacturer default level, but
this will be another big step in the battle
against “over-tilting.”
After setting the individual main and
sub levels for just one side of the PA, it’s
a good idea to turn on and listen to both
the mains and subs together. In doing so,
we’ll probably hear (and see on Smaart)
a rise in the overlapping frequencies
between the lowest main frequencies
and the highest sub frequencies. This is
the “critical crossover” region.
Using the tools at hand contained in
the system processor, external EQs, or
console matrix EQs, these two zones
can be tailored to fit together with the
smoothest amplitude and matching
phase traces. Keep in mind that any
small changes made to either mains or
www.ProSoundWeb.com
The main response having been flattened down as the author is discussing, plus the addition of a sub at a similar level.
subs alone may cause small phase shifts,
so keep Smaart on with the phase trace
active throughout this process to see the
effects of the adjustments that are being
made.
Once satisfied with the controlled low-
end level transition between lows and sub
bass on one side of the main system, add
the other side of the PA with the same
settings. Again, this is a good time to
look at the addition and coupling that
will occur when more zones of low-end
content are added.
It may be necessary to do some more
tailoring in the levels of the main PA low-
end (left and right), and the subs (left and
right, or mono) until a satisfactory overall
level of transition is reached. This method
of avoiding low-end build up throughout
the entire system, including side arrays,
front fills and any other fill loudspeakers,
will pay off big time when we start listen-
ing to our console inputs.
The methods described here will deliver
a much more neutral-sounding system
than many of the manufacturer systems
provide, straight out of the box. I’ve been
very happy with the results so far.
THE FINAL PART
So how then do we get that big punchy
sound we want? The last piece of the puzzle
is about to be incorporated. When listen-
ing to – and mixing together – individual
inputs, we will likely find the need to add
back in low-end frequencies to instruments
and probably reduce high-pass frequencies
on vocals and some instruments.
www.ProSoundWeb.com
The end goal is to get the console mix
to sound completely full frequency from
20 Hz to 20 kHz in quality headphones
or nearfield monitors, so it sounds great
on recordings, press feeds and extra fill
mixes. When we then bring it up in the PA
that we’ve previously tailored in low fre-
quency response and amplitude, it should
translate much better. This method of
system setup should accurately reproduce
a great sounding board mix without the
mix engineer needing to fight an excess
of low-frequency tilt and buildup.
Using this new tuning approach here
are some of the payoffs I’ve noticed thus
far, particularly in the critical crossover
region between the subs and low end of
the mains:
1. Better volume and tonal consistency
on instruments that reside in this fre-
quency zone. The bass guitar possibly is
probably the biggest winner! The even
amplitude and tone of notes on a bass
guitar as the player moves up and down
the neck is so much better.
2. High to low toms definitely benefit
from it, as well as full-frequency instru-
ments like pianos.
3. High-pass filter values are lowered
considerably which contribute to a fuller
sounding console mix, so excessive addi-
tional EQ is not required for record mixes
to sound “mastered.”
4. Sub bass frequency rumble and feed-
back on drums and open microphones is
reduced. Exaggerated low-end boost on
channels like kick drum and bass guitar
are completely at the engineer’s discre-
OCTOBER 2019
tion and not “built into” the entire PA’s
frequency response.
CAREFUL OUT THERE
Now that we have a more neutral sound
system canvas from which to paint an
audio masterpiece, do it with style and
color! Keep in mind that it’s a crazy world
out there, and many sound systems are
not tuned this way, especially in festival
situations where the frequency response
is decided by someone else (who possi-
bly doesn’t agree with your fancy pants
tuning style).
As a result, you may encounter very
low-end-heavy PAs that your low-end
heavy console mix has to work with, so
be cautious if there’s a huge hump in the
low-end response while playing the intro
song. It may require throwing in some
quick low-end cuts on the master bus or
matrix EQs to play well in the sandbox
with other systems.
Who knows? Maybe this new style of
system frequency response will catch on
and we’ll be remembered as trailblazers?
Just maybe… LSI
Jim Yakabuski has spent more than 35 years
as a live sound engineer, working with artists
such Van Halen, Journey, Avril Lavigne, Peter
Frampton, and many others. He’s also the
author of “Professional Sound Reinforcement
Techniques,” which pro-
vides a collection of tips
and techniques for mix
engineers. It’s available
via Amazon.
LIVE SOUND INTERNATIONAL 33
 Spotlight
COUNTERINTUITIVE?
Cardioid subwoofers can be a bit
claustrophobic.
by Adam Hill
L
ast spring, I was busy grading
a batch of reports from my sec-
ond-year acoustics students
where they were tasked with redesign-
ing a run-down music venue in terms of
internal acoustics and noise pollution. In
addition, they had to specify a suitable
sound system for the space. There was a
common approach used for the subwoofer
system design in many of the reports; one
which, if implemented, would be coun-
terproductive to what the students were
trying to achieve.
Many students came up with the idea
that to save space, they’d place the sub-
woofers underneath the stage. To ensure
musicians on stage have a reasonable
working environment, they specified
that the subs should have a cardioid polar
response (something which features in a
number of current units on the market).
At first glance, this seems logical.
There’s a big problem, however...
INTERACTIONS & OTHER FACTORS
When a cardioid sub is placed under-
neath a stage, it will lose the majority of
its directivity, more or less becoming an
omnidirectional source. This is due to the
interaction between the source’s output
and reflections from the stage (which
will wreak havoc on the intended interac-
tion between the front- and rear-moving
soundwaves).
In addition, a stage could resonate
due to the close proximity of the sub-
woofers, causing further issues (in my
experience, temporary staging is very
good at resonating around 120 to 160
Hz, likely a higher harmonic of the driv-
ing fundamental frequency originating
from the subs).
34 LIVE SOUND INTERNATIONAL OCTOBER 2019
Interestingly, the students’ approach to
cardioid sub placement demonstrates the
same misunderstanding I often encounter
when talking to practitioners. It’s blindly
(or deafly?) assumed that cardioid subs
will retain their polar response no matter
what.
Thinking back to when I started working
with Gand Concert Sound (Elk Grove Vil-
lage, IL), I remember a couple of product
design engineers from NEXO visiting us.
During our conversations they very clearly
explained that the company’s CD18 subs
need roughly 6 feet of open air around
them to maintain their intended polar
response. There were many sketches on the
back of napkins passed around and it made
perfect sense. I suspect this lesson hasn’t
quite reached everyone in the industry.
A few years later, I was spending my
non-summertime working towards a PhD
at the University of Essex (UK) under the
supervision of Professor Malcolm Hawks-
ford. Since the research was focused on
the analysis, modeling and optimization
of low-frequency sound reproduction and
reinforcement, I was able to investigate
a number of questions that had come up
while working with Gand – namely that
of cardioid subs under stages.
Using my electroacoustic model-
ing software (now called LowFAT), I
simulated a number of sub and stage
configurations. The results were clear:
directionality is destroyed when a car-
Table 1
The subwoofer configuration at Chicago’s
Auditorium Theatre.
dioid sub is placed underneath a stage.
Moving a sub even one meter in front of
a stage results in the expected cardioid
response. This being a minor point in a
paper I was working on, I left it at that.
MEASURING IT
A number of years later, now having
moved to the University of Derby (UK),
out of interest I had one of my final
year undergraduate students, Joe Paul,
focus his dissertation research on prac-
tical experiments to better illustrate this
issue. We started by measuring a cardioid
in a large room (roughly 30 x 30 feet).
Don’t judge – it’s located in the midlands
in England where we usually only get a
couple weeks of good weather and that’s
in the summer when most of us are away
from the university.
In our test space, the measured front-
to-back rejection of the cardioid sub at 40
Hz, 80 Hz and 120 Hz was 16 dB, 14 dB
and 16 dB, respectively (Figure 1). From
www.ProSoundWeb.com
 SPOTLIGHT

documentation provided by the company,

the predicted front-to-back rejection is
17 dB. So far, so good.
Next, we placed a single piece of
stage deck (8 x 4 feet) over the sub and
repeated the measurements (Figure 2).
We can see that the front-to-back rejec-
tion of the sub has significantly reduced.
The most significant issue is seen at 55
Hz, where rejection is approximately 15
dB worse than before the deck was put
in place. Figure 1: The sub’s measured in-room polar response (left) and magnitude response
As a side note, the on-axis (in front of (right).
the stage) response is roughly the same as
without the stage, so the audience expe-
rience isn’t changed by stage effects, it’s
just the stage personnel that suffer.
Following the manufacturer recom-
mendations, we then moved the stage so
that the subwoofer was slightly in front
of the stage (no part of it was under-
neath) and repeated the measurements
(Figure 3). Now we found ourselves back
to where we started. The sub behaved as
expected. And there was much rejoicing.
Figure 2: The sub’s measured in-room polar response (left) and magnitude response
We carried on with the experiments to (right) with a single piece of 8- x 4-foot stage deck placed over it.
include a larger stage (a 3 x 3 grid of 8- x
4-foot pieces of deck) as well as testing
for sub placement on the front edge of
the stage. To summarize our findings,
Table 1 indicates front-to-back rejection
for each test configuration with reference
to the rejection achieved with no stage
present. A value of 0 dB indicates that the
rejection perfectly matches that without
a stage present. Negative values indicate
a reduction in rejection. (Note that * indi-
cates simulated results using LowFAT,
which was required due to experimental Figure 3: The sub’s measured in-room polar response (left) and magnitude response
limitations.) (right) with a single piece of 8- x 4-foot stage deck placed just behind it.
The reason behind testing two fre-
quency bands was to inspect the sub at illatooscurodellafase.wordpress.com.) This isn’t quite the end of the story,
range exclusively (39 – 110 Hz for this In this case, the tests were conducted though. There’s something else to keep
unit) and then to look at a bigger pic- outdoors with a simplified stage (plywood in mind. Most festival stages have stage
ture (20 – 300 Hz), which picks up stage was used). Results seem to indicate that skirts to improve the “look” of the event.
resonances and other negative effects. the degradation of the cardioid response It’s important to check whether these are
is even more pronounced than our exper- acoustically transparent or not. If they
MORE GOING ON iments had shown! aren’t, you’ll find that sub output will
For a little while, this seemed to be the Recent experiments by Kees Neervoort decrease drastically.
only focused experiments published in from Event Acoustics (Netherlands) once This is due to the reflection coming
this area. Luckily, my colleague, Simon again replicated my original results and off the stage skirt. The reflection, when
Lewis, discovered work by an Italian expanded the scope of the problem find- it reaches the front of the subs, will be
firm which replicated our experiments ing that stage “catwalks” further degrade significantly out of phase from the direct
in late 2017. (That report can be found sub directionality. sound (the precise relationship is strongly

36 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

frequency dependent). This will cause
partial cancellation of the forward-mov-
ing wave, thus reducing efficiency. This
effect was recently confirmed experimen-
tally at a mock live event as part of the
above-mentioned research conducted at
Event Acoustics.
The same goes if you’re indoors and
place a cardioid subwoofer against a wall.
I ran into this situation when on a gig
with Adam Rosenthal a number of years
ago at Chicago’s Auditorium Theater. The
only place we could put the NEXO CD18
Academic papers this article is based on:
Hill, A.J.; J. Paul. The effect of performance
stages on subwoofer polar and frequency
responses. Proc. Institute of Acoustics – Con-
ference on Reproduced Sound, Southampton,
UK. November, 2016.
Hill, A.J.; M.O.J. Hawksford, A.P. Rosen-
thal; G. Gand. Subwoofer positioning, orien-
tation and calibration for large-scale sound
reinforcement. 128th AES Convention, Lon-
don, UK. May, 2010.
And, selected “historical” reading:
Olson, H.F. Elements of Acoustical Engineer-
ing, 2nd Edition. D. Van Nostrand Company,
New York. 1957.
Waterhouse, R.V. Output of a sound source
in a reverberation chamber and other reflect-
ing environments. Journal of the Acoustical
Society of America, vol. 30, no. 1, pp. 4-13.
January, 1958.

SAME SAME
subs was on the offstage wings in front
TWO MICS
FOR THE SIZE OF ONE
of the proscenium.
When we fired up the system, the low
frequencies seemed to be extremely low
level even though we were driving the

BUT IFFERENT
system fairly hard. After thinking about
it for a few minutes, we realized that the
reflection off the proscenium was cancel-
ling out our direct sound.
The solution? Turn off the rear drive
unit, making the CD18s omnidirectional.
After that, the low-frequency content
came back to the expected levels and we
had a good show. So, what are the take-
away messages here?
-- Don’t place directional subs underneath
a stage.
-- Don’t place directional subs in front
of a wall.
-- Beware of non-acoustically transparent
stage skirts.
-- Do place directional subs slightly in
front of a stage (about 3 feet of clearance P AT E N T PENDING
is recommended).
As a final note, in case you think all of TWO identical, factory matched — and
this stuff is new and I’m brilliant for high- waterproof — elements uniquely deliver a
lighting these issues, I should note that confidence boost for any live mic application.
Harry Olson and Richard Waterhouse
figured out just about all of this before
most of us (and even some of our parents
and grandparents) were born. Read their
‘‘ Overall this mic performed flawlessly and is very
impressive. It’s comfortable to wear. You can
hardly see the second element [on our pastor].
papers and books! There’s nothing new It also has great sound and with the redundancy
here... LSI feature, will be a problem solver. ”
—John Chevalier, Faith Community, Rohnert Park CA
Based in the UK, Dr. Adam Hill is a veteran
audio professional who teaches at the Uni-
versity of Derby’s BSc (Hons) Sound Light
and Live Event Technology program and
BACKUP HAS ARRIVED . . . in style
runs the MSc Audio Engineering program.
Since 2003, he has spent summers working P O I N T - S O U R C E A U D I O . C O M
for Gand Concert Sound.

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 37

 Advance Notice

ALLEN & HEATH AVANTIS

Detailing a new
digital console
platform.
by Live Sound Staff

A
llen & Heath has just revealed
previously unreleased details on
its new 96 kHz digital console,
Avantis, the third platform to be based on
the company’s XCVI FPGA engine. Avan-
tis puts this technology in a standalone
mixer with 64 channels, 42 configurable
buses, twin 15.6-inch high-definition
touchscreens, ample I/O options, and
processing from the company’s flagship
dLive mix system.
Encased in an alloy shell and tubular
frame, the control surface is centered on
the two 1080p HD touchscreens and their
corresponding rotary controls.
“Having two touchscreens isn’t a new
concept, but we realized we could use it to
unlock exciting new possibilities, which led
us to develop Continuity UI, which allows
engineers – not the mixer – to decide how
they’d like to work,” explains Andy Bell,
R&D director for Allen & Heath.
“For example,” he continues, “an engi-
neer can work gains and pans on the rota-
ries, then at the touch of a soft key switch
to EQ or dynamics across the whole strip.
The console also provides a highly con-
figurable FastGrab tab on the right-hand
side of each screen, offering another way
to quickly and easily access control of aux
sends, EQ, compressor and FX on the cur-
rently selected channel or spot channel.”
The worksurface of the new Allen & Heath Avantis digital console.
Also onboard are 16 DCA groups
(with spill functionality) and eight mute
groups. Automatic Mic Mixing (AMM)
of up to 64 microphone sources can be
distributed to 1, 2 or 4 zones, and it’s
capable of running in classic gain sharing
mode or optionally as a NOM (number of
open microphones) algorithm.
AMPLE ECOSYSTEM
While Avantis can be paired with the
48-input/16-output GX4816 audio
expander, the new platform is part of
the company’s “Everything I/O” ecosys-
tem, meaning that it connects to a wide
range of audio expander hardware. The
console is also compatible with Allen &
Heath’s range of ME personal mixers and
IP hardware remote controllers.
For local I/O, Avantis is equipped with
12 XLR analog inputs and 12 XLR analog
outputs, plus AES (stereo in, dual stereo
out). Two additional I/O ports accommo-
date the full line of current dLive option
cards, including (Audinate) Dante (64
x 64 and 128 x 128), Waves, gigaACE,
MADI and more, expanding the scope
for system integration, front of house/
monitor splits, and multitrack recording.
Processing tools include compressors,
EQs and the company’s popular RackEx-
tra FX units (12 slots). Upgrading to
dPack delivers additional dLive process-
ing, including the Dyn8 dynamics engine
(up to 16 instances), DEEP compressors,
and the Dual-Stage Valve preamp. Note
that dPack purchasers will automatically
receive all future DEEP and FX updates
free of charge.
The capabilities set doesn’t stop there.
Input and output channel processing and
parameters can be saved on demand as a

Local I/O includes 12 inputs and a dozen more output plus

AES facilities and ports to host dLive option cards. A sleek profile is another facet of the package.

38 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com


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user library item for recall in other chan-

nels. There’s also the ability to archive
these items with show files, and they can
be transferred via USB for use with other
systems.
There are also facilities to save up to
500 scenes, each of which can be named
and accompanied by descriptive text.
These can be protected from unwanted
Avantis works with the GX4816 audio expander as well as other expander hardware. changes with scene safes. Even further,
a cue list of scenes facilitates a running
order of scenes from the master list, and
a crossfade adjustable up to 20 seconds
is offered for each scene. Recall can be
embedded into a scene, with the option
to delay the start of the embedded scene
recall by up to four minutes.

FILLING IT OUT
A talkback facility provides the ability to
send to any output mix with on-screen
status indication, and there’s the option
of enabling talkback latching and high-
pass filtering. A signal generator can
be used to send a variable level signal
– including sine, white noise, pink noise
and bandpass noise – to any input and
output mix with visual assignment status
on screen.
Speaking of visual, the mixer’s metal
tubular exo-skeleton makes for a striking
aesthetic while keeping weight down to
just a bit over 57 pounds. Overall dimen-
sions are compact at 36.1 x 24.7 x 10.6
inches.
“One of the first things you’ll likely
notice is that Avantis is not just another
dull grey boxy mixer with plastic sides,”
notes Jeff Hawley, Allen & Heath USA
marketing manager. “Our team was
inspired by the sleek cur ves of the
tubular exoskeletons present on mod-
ern superbikes – extremely strong, but
lightweight.”
Avantis stands to bring an unprece-
dented amount of power and processing
to a mixing console of this footprint and
price point, with a level of accessibility
and control that rivals consoles costing
many times more. LSI

Avantis U.S. MSRP: Mixer Only –

$9,999; dPack Add-On – $1,399;
GX4816 Remote Expander – $3,999

40 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

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 Project Memo

SMALL BUT MIGHTY

Deploying a
new rig at a
small-town
summertime
festival.
by Michael Lawrence

D
espite all the hassles and stress-
ors that come along with it,
summer festival season is my
favorite time of year to be working in
production. To me, it’s always been a Having fun at the festival in Rome, NY, with new RCF arrays on hand for a tryout flying
unique pleasure to spend a warm late from the Stageline stage.
summer evening enjoying food and drinks
with friends and family while watching a a fun event, the show was also a “proof aging, and he was interested in upgrading
great band perform. of concept” for myself and Bill – having to a modern solution that fit with our
This summer, my hometown (Rome, worked together for over a decade, we’ve “small but mighty” production philoso-
NY) hosted an end-of-summer music spent a lot of time building a streamlined phy. After a lot of research and discussion
event, which was just such an opportu- approach to event production. of available options, we contacted Tarik
nity. The all-volunteer production team Our focus is on efficiency, seeking to Solangi, VP of sales and marketing for
consisted of myself, my colleague Bill provide maximum value for the client’s RCF USA.
Di Paolo, who runs regional production budget by using equipment that travels We explained that we were looking
company Entertainment Services NY, light, sets up fast, and looks and sounds for a small, lightweight system for easy
and the bandmembers themselves, who great. This event was a chance for us to transport and flexible deployment, and
all work by day for a local systems engi- put to good use some recent investments Tarik agreed that the RCF HDL6-A com-
neering firm called Advanced Automation in the form of powerful but small-foot- pact-format line array would likely be a
Corporation and by night perform classic print lighting and sound consoles, along good fit. He arranged for us to demo the
rock covers as the Band Tyler. with an all-LED lighting rig. system and RCF signed on as a sponsor
Once the idea was proposed, it quickly Bill’s current “A-rig” sound system was of the event.
came to fruition: the city
offered the use of its Stage-
line SL100 mobile stage,
Bill and I would provide
lighting and sound support,
and several Entertainment
Services stage technicians
volunteered their time and
skills as well.

STREAMLINED
APPROACH
Besides being an opportu-
nity for our local commu-
nity to come out and enjoy The author demonstrates the HDL6-A rigging to Bill Di Paolo and stage techs Bud and Austin.

42 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

info@americanmusicandsound.com dBTechnologies www.dbtechnologies.com
 PROJECT MEMO

The kit at front of house, and a view from behind the festival’s featured band.

JUST AS PREDICTED stream of compliments about how clear I’m already looking to the next show with
For the show, RCF provided six HDL6-A the system sounded. it. They truly are, as my friend described
per side as well as two SUB8004-AS sin- “I was really looking for something that them, “angry little boxes,” and deserving
gle-18-inch subwoofers per side, which I could go up quickly for small and medium of a serious look (and listen) by anyone
ran in a cardioid array to minimize stage sized events, where rigging options are in search of a small yet potent PA solu-
wash. The system was in the air in a mat- often limited,” Di Paolo says. “That we tion. LSI
ter of minutes, and the stage crew was got so much sheer firepower out of a box
impressed with how easy it was to pin in this product class was amazing. I’m Michael Lawrence is an independent front
and fly. A quick lap around the field with looking forward to offering this system of house engineer and system tech. He is also
my measurement rig confirmed that the to our clients.” the technical editor of various pro audio pub-
system performed just as my EASE Focus The HDL6-A system surpassed my lications. Read more from Michael and reach
prediction said it would, and I needed expectations for a rig of that size, and him at precisionaudioservices.com.
only a single EQ filter to hit my target
curve.
When the band took the stage for
sound check, they sounded great right out
of the gates, only needing a few tweaks to
balance the drums in the mix with what
was coming off the stage. The band mem-
bers all wear in-ear monitors and two out
of three guitars on stage are taken direct,
so it’s a quiet stage, and with a good PA
it’s relatively easy to get them sounding
very clean and tight out front.
As sound check wrapped up, I received
a text message from an employee of
Advanced Automation Corporation who
was working at the office – 1,000 feet or
so down the road – saying she heard every
single word clearly from inside her office.
I’ve had bad experiences running out
of headroom on small-format PAs in the
past, and I was a bit nervous about having
enough gas for an outdoor rock concert,
but the system gave me everything we
needed. The band sounded tight from
the first song, and we received a steady It’s a very quiet stage for the band Tyler.

44 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 November 22-24, 2019
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 First Look

MEET THE QSC KS118

Preliminary
details on a
just-announced
subwoofer.
by Live Sound Staff

M
aking its debut at press time,
the new KS118 from QSC is
the latest addition to the com-
pany’s KS Series, a compact active sub-
woofer for a wide range of applications. It
includes a direct radiating 18-inch woofer
powered by a class D amplifier stated to
deliver up to 3,600 watts.
Frequency range (at -10 dB) is listed as
35 to 111 Hz, with maximum sound pres-
sure level at 136 dB (at 1 meter, peak).
Onboard DSP can be utilized to opti-
mize and protect system performance.
Two modes are provided: omnidirectional,
as well as the ability to array two units
in a cardioid arrangement, maximizing
low-frequency output in front while mini-
mizing unwanted energy around the sides
and rear.
Crossover and delay can be adjusted and
optimized, and scenes for commonly used
applications can be saved and recalled. In
addition, the proprietary DEEP mode pro-
vides additional low-frequency extension
and driver excursion processing.
Designed for ease of transport and
placement, the birch plywood enclosure
includes ergonomic aluminum handles
and four rear-mounted low-noise cast-
ers. It measures 25.2 x 20.5 x 30.9 inches
(including casters) and weighs in at just
above 100 pounds. The front grille is
made of 16-gauge black powder coated
steel.
A top-mounted M20 threaded pole
receptacle accepts a 35 mm pole for ver-
tical deployment with K.2 Series and
other full-range loudspeakers. The cabinet
can also be positioned horizontally with-
Front and back views of the new KS118 subwoofer from QSC.
out affecting performance. An optional als and enthusiasts of all kinds.”
transport cover, KS-LOC security cover The new KS118, which succeeds the
and loudspeaker pole accessories are also popular KW181 subwoofer, is covered
available. by the company’s global 6-year warranty
“With the introduction of the KS118, with product registration. In the next
QSC now offers users an unprecedented issue (LSI November 2019), technical
choice in selecting the perfect low fre- editor Michael Lawrence will share his
quency companion for their sound rein- evaluation of the KS118 via a Road Test
forcement system,” says Chris Brouelette, review. LSI
product manager,
portable loud-
speakers for QSC.
“ R a n g i n g f ro m
the ultra-compact
KS112, to the
single-enclosure
cardioid KS212C
and now the new,
very high output
KS118, this wide
var ie t y o f s ub-
woofer options
present very com-
pelling solutions
for AV profession- A closer look at the control panel and the back of the unit.

46 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 Business Matters
CYCLES & PARALLELS
Diversification in
multifaceted worlds.
by Peter Janis
W
hile in France’s famous Cote d’Azur, I took my regular
morning hike along the boardwalk, circled the Nice
harbor filled with million-dollar yachts, old-time sail-
ing boats, and leisure crafts. By good fortune, I found a marine
outfitting shop, and in the window, noticed a pair of deck shoes
among nets, pulleys, and blue and white striped Marinieres.
Carla, my wife, had been telling me that I should buy a proper
pair of shoes and that she liked the look of a Sperry Top-Sider.
The selection of French-made shoes included five different
models in various colors, yet the store only offered limited sizes
and no variation on width.
After trying several pairs, I found one that was tight with
socks and loose in bare feet. But when I tried on the second
shoe, it was badly made and a sure recipe for blisters.
At that time, I was also writing an article on “focus versus
diversification,” and now here I was, in the French Riviera, living
that reality. Here’s a shop that offers everything one needs to
repair a ship yet was also dabbling in deck shoes. Would they
have been better off to offer less selection with a full comple-
ment of sizes? Were they inadvertently creating a business
opportunity for a deck shoe specialty shop?
CHANGING TIMES
If we go way back to the beginning of modern retail, it all started
with the general store. There you could buy basic staples such
as food and clothing. For something special, one opened up the
Sears catalog and inside could find anything from model T-Fords
to washboards to accordions, and everything in between. From
the 1890s to about 1990, Sears was the mecca of retail, only to
eventually be surpassed by Walmart in terms of in-store sales.
What happened? Walmart provided many of the same product
options as Sears but usually at lower prices. However, the most
obvious answer is the internet, and more specifically, Amazon.
What Sears did so well was provide the consumer with a wealth
of options. Today, this is known as the “long tail,” whereby
selection outperforms price.
Amazon takes this a step further by not only delivering at a
good price, the company’s fulfillment centers are so advanced
that they’re able to deliver almost anything within days. And
with the internet in general, the choices for the consumer have
become limitless. So, instead of following its original catalog
roots, Sears simply missed the transition to the online world.
There’s also another factor: lack of selection. Or more to the
48 LIVE SOUND INTERNATIONAL OCTOBER 2019
point, specialization. Think of Best Buy. The company started out
in 1966 as Sound of Music, a specialty hi-fi shop, and in 1983
rebranded itself as Best Buy and today specializes in electronic
devices such as cell phones, TVs and appliances. All of a sudden,
the Sears Kenmore brand now had competition from the likes
of Maytag, GE and Frigidaire offered at Best Buy (and other
outlets such as “big box” stores like Lowe’s and Home Depot.)
Cabela’s, Walgreens, Nordstrom, Office Depot and Guitar
Center are other examples of companies that chipped away at
the various department stores within Sears. They all specialize
in some form or another, reducing Sears’ near monopoly.
HOW IT APPLIES
In the world of professional audio and music stores, we can
see parallels. Way back when, we would go to a music store to
buy a guitar, amplifier, violin, piano and sheet music. I recall
visiting Musique Archambault in Montreal and salivating at
the Gibson guitars that were locked behind glass doors. If you
wanted a Gibson, this is where you went.
Eventually, about 10 blocks away, pawn shops like Jack’s,
Steve’s and Golden’s began to offer musical instruments – only
at these places, you could actually pull a guitar off the wall and
try it out. Steve’s had the best selection, the store was not
stuffy, and it felt like rock ‘n’ roll. In no time, business shifted
away from the old guard to the new.
Steve’s eventually won the game and opened branches in
Ottawa and Toronto. Sam Ash did the same in New York and
grew to a national chain. In 1988, the company had launched
Sam Ash Pro, a division that specialized in broadcast and record-
ing equipment. In other words, they pulled a department out
of their own shop to specialize. (Sam Ash Pro was also the first
shop in New York to buy a Radial direct box.)
The arrival of low-cost digital recording equipment and com-
petition from internet shops that were not burdened by exor-
bitant Manhattan rents made it impossible for Sam Ash Pro
to continue. Instead, specialty shops like Sweetwater, Vintage
King and Full Compass sprang up that offered high-tech support
with a lower cost online business model.
www.ProSoundWeb.com
KEY DECISIONS
The company I founded, Radial Engineering, started out as a
specialty shop that supplied and manufactured cabling for the
recording industry. In the early 1990s, professional studios
were equipped with 24-track Studer recorders that needed
copious amounts of multichannel cable, patch bays, and heaps
of connectors.
But with the advent of the Alesis ADAT, we could see the sun-
set on the horizon. While we started to offer ADAT and Tascam
cables, we also began to broaden our selection by importing
and distributing a number of brands in Canada, such as Audix,
PreSonus, Hafler and Sonex. The internet disrupted the market
by making price parity a key component of the sales process,
which in turn made it less profitable to distribute U.S.-made
brands that could easily be sourced for less south of the border.
PreSonus eventually jumped ship to work with Jam Industries,
the largest distributor in the world. Who could blame them? We
were a small start-up while they had cash in the bank to both
place big orders and finance dealer programs.
This led to the realization that we had to be in control of
our own destiny, and the only way to do that would be to build
our own brands. It started with Radial pro audio products and
then Tonebone pedals. As we witnessed Sonnex losing market
share to Auralex in the acoustical panel/treatment market, we
responded by launching Primacoustic.
In early 2009, I sat down with our sales team and told them
that we were going to go through some tough years. To deal
with it, I urged them to focus on selling products that people
need, not products that people want. In other words, there’s
no point in trying to sell someone a brand-new BMW if they
just bought a Mercedes last week.
We had to focus on direct boxes, going right back to our
roots. As the economy tanked, most of our competitors stopped
advertising, leaving magazines hungry for business. We nego-
tiated bargain-basement rates and offered to buy empty pages
at the 11th hour. In no time, Radial became one of the most
visible brands in the industry and we created the DI product
category, instead of a one-size-fits-all device that was previously
dolloped in with cables.
We then bought Reamp and a few years later, Hafler and
Dynaco. Did we diversify ourselves out of a market? Tough to
say where things would have gone had I stayed on. Mike Hill,
our general manager, would often say, “Why don’t we get rid
of everything and simply sell DI boxes? We could get a smaller
warehouse, reduce our staff and make way more money.”
From my perspective, brand selection gave us stability. If the
pro audio market were to decline, then hi-fi brands like Hafler
and Dynaco could potentially bring in the lost revenues. This
idea was not my own. Back in the 1980s, Fender president Bill
Schultz used his hand and spread out his fingers like a spider
on a desk. He then lifted all his fingers, leaving only his index.
He said with one brand (finger), you have no stability. By then
spreading his fingers out again, he reinstated the importance
of diversification. This stuck with me.
www.ProSoundWeb.com
Diversification comes at a cost, however. When launching new
brands, a company must be prepared to invest in the brand with
marketing and sales. Merely putting up a website is not enough.
Further, key personnel have to go out and visit customers
and get them to buy in. This takes time and money. If the sales
team is already busy, adding more to their plate can reduce their
efficiency and focus and negatively affect sales.
EXPANDING THE POOL
Today, online shops like Sweetwater have expanded their offer-
ings to include guitars, amplifiers and effects pedals. As they’ve
done this, they’ve also increased their sales team to support their
investment in new inventory and expanded their warehousing
and shipping facilities.
Vintage King, a shop that originally had a strong online outlet
in Detroit that specialized in high-end audio gear, not only has
expanded with offices in Chicago, Los Angeles and Nashville,
they too have added guitars and keyboards to their online sales.
But unlike Sweetwater, which offers major brands like Fender,
Vintage King is focused on lesser known brands such as Suhr with
the potential to yield a higher return due to less competition.
Alto Music in New York State diversified by expanding its
retail space to 55,000 square feet, creating a destination that
enables the store to display more than 1,000 guitars. Alto also
opened up a specialty recording shop in Brooklyn and has begun
distributing specialty brands to other retailers.
When I asked owner Jon Haber how he foretells the future, he
suggests that his “brick and mortar” success is due to his well-ed-
ucated staff, yet he also believes that future growth will come
from online sales. I followed up by asking him about Walmart’s
strategy of ordering online while offering a local pickup site, and
he pointed out that this makes it easy for the consumer to return
a product versus having to repack it and ship it back to Amazon.
Because these major retailers have the traffic and market reach,
and also have built consumer trust, they can capitalize on it by
expanding their offerings without having to necessarily have the
product on hand. For instance, Costco online does not actually carry
much product at all – it’s warehoused by the manufacturer and is
shipped directly to the customer from one of many warehouses.
When retail businesses get too big to handle the details or
become too comfortable, smaller shops will come to the rescue
and take on the task by splintering off some of the business. It’s
simply a matter of following cycles and parallels. LSI
Peter Janis is the former CEO of Radial Engineering, Primacoustic,
Hafler and Tonebone. He now runs exit-plan.ca where he assists business
owners with their strategic planning, growth and eventual retirement.
OCTOBER 2019 LIVE SOUND INTERNATIONAL 49
 Tech Topic

WORKING IN TANDEM
Combining near and far
field measurements.
by Joe Begin

Editor’s Note: Part 1 (LSI May 2019) and dimension of

part 2 (LSI June 2019) of this series pro- the loudspeaker
vided the essentials of loudspeaker mea- enclosure. This
surement. Here the author builds upon that measurement
discussion with insights regarding combining provides data that
Figure 1. Graphic illustrating the technique of combining near
near and far field measurements. is useful at fre- field and far field measurements to obtain full-range frequency
quencies greater response (excluding diffraction effects).
than 1/T, where T

O
ne approach to overcoming the
inaccuracy of quasi-anechoic
techniques at low-frequencies
involves combining them with near-field
measurements. Keele [1] demonstrated
that the far field frequency response of a
loudspeaker at low frequencies can be esti-
mated by measurements in the near field.
This relationship is valid at low fre-
quencies, at which the driver behaves like
a rigid piston. In practice, the measure-
ment microphone must be placed very
close to the dust cap of the driver. The-
oretically, to be within 1 dB of the true
near field pressure, the microphone must
be within 0.11r of the dust cap, where r
is the driver radius.
For example, for the 127 mm (5 in)
diameter driver listed above, the micro-
phone would need to be less than 7 mm
(0.28 in) from the dust cap. At this close
distance, reflections and noise are essen-
tially eliminated.
Struck and Temme [2] presented a
method whereby a loudspeaker’s full-
range frequency response is derived by
combining its low-frequency response as
measured by the near field technique with
its high-frequency response as measured
using a quasi-anechoic technique. This is
illustrated in Figure 1.
The far field quasi-anechoic measure-
ment is conducted at some distance greater
than 3M, where M is the most significant
is the length of the time window applied
to the impulse response to eliminate room
reflections.
The near field measurement is con-
ducted with the microphone very close
to the driver. This measurement is valid at
frequencies below f=c/πM, where c is the
speed of sound and M is the significant
cabinet dimension. The near field mea-
surement results in a frequency response
curve that is much higher in level than
the far field response.
The curves are combined by shifting
the near field response curve down in
level such that it matches the far field
curve at some point in the overlap region
and splicing the curves together. The
overlap region is the frequency range
between 1/T and c/πM.
Figure 2. Estimated Diffraction effect for a closed box bookshelf speaker with 127 mm
driver mounted in the center of a 197 x 294 mm rectangular baffle.
For the near field / far field splice
technique to work, the room must be
large enough relative to the size of the
loudspeaker for there to be an overlap
frequency range. In addition, if the loud-
speaker system has one or more ports or
multiple drivers, the technique becomes
more complicated: A near field measure-
ment of each driver and port must be
made and these must be summed in the
complex domain (i.e., with regard to mag-
nitude and phase) after first scaling the
component responses to account for their
different radiating surface areas.
DIFFRACTION EFFECTS
A disadvantage of using a near field mea-
surement to estimate the low-frequency
response of a loudspeaker enclosure in

50 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

the far field is that it does not include the with and without the estimated diffrac- technique [5]. This technique takes
effects of diffraction from the enclosure tion response. Note that without the esti- advantage of the fact that the acoustic
edges, sometimes referred to as baffle step mated diffraction (red trace in Figure 3b) reflection from a loudspeaker placed
diffraction. This effect causes an apparent the spliced curve is significantly off at directly on a hard, reflective surface is
“loss” at low frequencies and ripples in the low frequency. predictable.
frequency response at higher frequencies Consider the sketch in Figure 4, show-
which are not present when the driver is GROUND-PLANE MEASUREMENTS ing a loudspeaker and microphone placed
mounted in an infinite baffle. Another approach to approximating 1 m above a reflective surface. The micro-
In simple terms, the baffle diffraction the free field response of a loudspeaker phone is positioned on-axis, 2 m away
effect can be explained as a transition is the ground-plane measurement from the loudspeaker.
from 4π space to 2π space radiation as
the wavelength of sound decreases with
increasing frequency. At low frequencies,
where the wavelength is long compared to
the baffle dimensions, the baffle is acous-
tically transparent, and the sound radiates
into 4π space. At high frequencies, where
the wavelength is short compared to the
baffle dimensions, a driver radiates into
a half-space (or 2π space). As a result, the
overall mean sound pressure is twice the
level (or 6 dB higher) at high frequencies.
In addition to the overall 6 dB increase
in the mean level, in the transition region
between high and low frequencies, the
baffle diffraction effect causes peaks
and dips in the response curve that vary
depending on the baffle shape and dimen-
sions, and the position of the driver on
the baffle. In a seminal paper on the sub-
ject published in 1951, Olsen [3] demon-
strated measured diffraction response for
12 different enclosure shapes.
If enclosure diffraction effects are not
accounted for, the near field / far field
splice technique described above can cause
errors in the estimated frequency response.
Luckily, there are software tools available
to simulate baffle diffraction.
For example, Figure 2 shows the baf-
fle diffraction estimated with a program
call the Edge, from Tolvan Data [4] for a
rectangular loudspeaker enclosure with a
127 mm driver mounted in the middle of
its 197 x 294 mm front baffle. Figure 3a
shows three frequency response curves
for the same loudspeaker system – the
measured near field response, the quasi
anechoic far field response measured using
a 5 ms time window, and the near field
response combined with the simulated
diffraction response shown in Figure 2.
Figure 3b shows the results of splicing
the near field / far field response curves

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 51

 TECH TOPIC

For this geometry, the dif-

ference in path length for the
reflected sound and the direct
sound is about 894 mm. At
the speed of sound (343 m/s
at room temperature), this
represents a time difference
of 2.61 ms. Hence, if a sinusoi-
dal signal is generated by the
loudspeaker, two sine signals
of the same frequency and
Figure 3a. Relative response (left) of near field measurement, diffraction corrected near field mea-
essentially the same amplitude
surement and far field measurement. Figure 3b shows combined near/far field response with and
will arrive at the microphone, without diffraction correction.
but the reflected sound will be
delayed by 2.61 ms.
This time delay represents a phase
shift. At some frequencies, the signals will
be 180 degrees out of phase and they will
completely cancel out. At frequencies two
times higher, the signals will be exactly
in phase, and their combined amplitude
will be twice that of the direct sound, or
6 dB higher in level. This causes a comb
filter effect at the microphone position,
as shown in Figure 5. For this geom-
etry, the signals completely cancel out
at multiples of 192 Hz, and they sum to
twice the amplitude of the direct sound
at multiples of 384 Hz.
As the loudspeaker and measurement
microphone are moved closer to the
reflecting plane, the path length differ-
ence decreases, causing the notches of
the comb filter to occur at higher frequen-
cies. In the limiting case, the loudspeaker
and the microphone are placed directly
on the ground plane, and the speaker is
tilted such that the reference axis points
directly at the microphone.
For a standard ½” measurement micro-
phone, the center of the microphone’s
diaphragm will be about 6.4 mm above
the ground plane when the microphone is
directly on the surface. For a loudspeaker
height of 40 cm, the first notch in the phone at a distance two times the intended
comb filter would be at about 68 kHz, measurement distance.
resulting in a level response 6 dB higher For example, a common specification is
than the direct sound up to 20 kHz. the frequency response measured on-axis
As the source height increases, the fre- at 1 m distance due to a sinusoidal stim-
quency of the first notch will decrease, lim- ulus of 1 W. Assuming the loudspeaker is
iting the upper frequency range of ground small enough that 1 m is in the free field
plane measurements to a frequency below of the DUT, a ground plane measurement
20 kHz. One way to mitigate this effect is at 2 m will yield the same level response
to place the high-frequency driver closer as a free field measurement at 1 m.
to the ground (i.e., to invert a loudspeaker Figure 7 shows a ground plane mea-
system with the tweeter at the top of the surement of a small bookshelf speaker in a
baffle. large open field and the resulting frequency
As shown in Figure 6, from the per- response measured at 2 m due to 1 W input.
spective of the microphone, it “appears” In this case, the loudspeaker and micro-
that there is a second identical loudspeaker phone were placed on a table top resting on
located symmetrically with respect to the the ground, to ensure a reflective surface.
ground plane. At
frequencies below
the first notch in
the comb filter,
the signals will be
in phase and will
have a combined
level 6 dB higher
than the level of
the direct sound.
Figure 4. Sketch of a loudspeaker and microphone tested at 1m
This can be used above a hard, reflective surface.
to advantage by
placing the micro-

Figure 6. A ground plane measurement. The speaker is tilted to-

ward the microphone, which is 2 m away. The reflected sound can Figure 5. The comb filter effect caused by interference between
be thought of as a mirror image of the speaker located symmet- the reflected sound and direct sound for the geometry shown in
rically below the reflecting plane. Figure 4.

52 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 more than 35 years of experience in test and
measurement. As director of applications
and technical support at Audio Precision (ap.
com), he’s involved in product management,
audio and electroacoustic test applications
engineering, and technical support.

Figure 7. A bookshelf speaker measured using the ground plane technique and the
resulting frequency response at 2 m.
Ground plane measurements offer an
inexpensive alternative to an anechoic
chamber, but they still have some
issues. One issue is diffraction; due to
the reflected image of the loudspeaker,
the baffle appears to be twice as high as
it really is, causing a different diffraction
response along the edge in contact with
the ground.
Also, a large open area is required with
no vertical reflecting surfaces located
within about 10 m of the loudspeaker.
And, of course ambient outdoor noise
from vehicles, machinery, aircraft and
the wind is usually of concern, especially
for low-frequency measurements where
the output of the DUT is relatively low.
In the next part of the series, we’ll
focus on the essentials of standard loud-
speaker measurements. LSI
Joe Begin, PE (Acoustical Engineering), a
graduate of McGill University (B.Sc.) and
the University of Canterbury (M.Sc.), has
References
1. D. B. Keele Jr., Low-Frequency Loudspeaker
Assessment by Near-Field Sound Pressure
Measurement. JAES, vol. 22, pp. 154-162,
April 1974.
2. C. J. Struck and S.F. Temme, Simulated
Free Field Measurements. JAES, vol. 42, No.
6, June 1994.
3. Olson, H.F. Direct Radiator Loudspeaker
Enclosures. JAES, 1969 Vol 17 No. 1.
(reprinted from Audio Engineering, Novem-
ber 1951).
4. Tolvan Data. The Edge. Technical Docu-
mentation, 2006 (tolvan.com).
5. Gander, M. R. Ground-Plane Acoustic Mea-
surement of Loudspeaker Systems. JAES Vol
30 No. 10, 1982.

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www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 53

 Real World Gear

SONIC BOOM bass having a fundamental of 41 Hz, the lower notes of a synth,
piano, or five-string bass reaching below 31 Hz, and the thump
of a kick drum focusing a lot of energy around 60 Hz.

Subwoofer operating
Modern subs are designed using several basic principles. A
common design utilizes one or more direct-radiating cone drivers

principles and a look at

in a tuned, ported “bass reflex” enclosure. Also widely used, a
folded horn design places a cone driver within the interior of

recent models.
the enclosure, and it feeds a baffled “horn” pathway that exits
the front. The tapped horn is a variant that modifies the location
of the driver within the horn.
by Live Sound Staff Bandpass designs resemble enclosures within an enclosure,
where cone drivers in sealed or vented internal cabinets fire

I
nitially developed to extend low-frequency response
in the 1960s, subwoofers have grown to become the
most ubiquitous specialty enclosure. For years, dedi-
cated subs accompanied modular full-range loudspeakers with
predictable tops-to-subs deployment ratios, depending on the
type or style of music: Two-to-one for pop music, one-to-one for
rock and one-to-two for reggae and rap. This was as complicated
as subwoofer math initially got.
Over time, greater understanding of low-frequency physics
has resulted in refinement of the general approach to subs,
starting with driving them from an auxiliary send as well as
sending only specific inputs, such as bass and kick. Much of
today’s music is particularly bass heavy; even songs from decades
ago can sound a bit “thin” without some subs thumping along
with the beat. We’ve become accustomed to hearing – and often
feeling – the low end. Many popular instruments center around
subbass frequencies, with the low E on an electric or upright
into a second tuned chamber before the sound exits, reducing
upper harmonics while presenting a controlled LF bandwidth.
Designers will sometimes use more than one of these principles
to create hybrid subwoofers, such as a blended direct-radiating
and bandpass cabinet.
Many of the enclosures are physically large and densely con-
structed, often housing a pair of 15-inch or 18-inch (and some-
times bigger) cone drivers. Yet even for their size and weight,
they’re dwarfed by the lengths of the sound waves they must
reproduce. A 40 Hz tone, for example, has a wavelength of over 28
feet. Given the ratio of wavelength to cabinet size, the resulting
output tends to propagate omnidirectionally, especially at the
lowest frequencies, though directivity-control techniques exist.
The following overview includes more than numerous models
in a variety of formats. It’s by no means an all-inclusive list
but is presented to serve as a solid point for your own further
research. LSI

L-Acoustics KS28
l-acoustics.com

Type/Format: Di-
rect-radiating bass
Adamson E219 reflex, vented, with d&b audiotechnik SL-GSUB
adamsonsystems.com standard and dbaudio.com
cardioid modes;
Type/Format: Front-loaded, direct-radi- ground-stack or fly Components: 3 x 21-inch neodymium
ating; ground-stack or fly with integrat- with integrated woofers, cardioid configuration
ed hardware hardware Frequency Response: 33 Hz – 84 Hz (- 5
Components: 2 x 18-inch cones (4-inch dB)
Components: 2 x 19-inch Kevlar cones
voice coils) with vented magnets Max SPL: 144 dB when driven by D80
with neodymium magnets
amplification
Frequency Response: To 25 Hz
Frequency Response: 28 – 90 Hz (+/-3 dB) Nominal Impedance: 3/6 ohms (front/
Max SPL: 143 dB
Max SPL: 144 dB rear)
Nominal Impedance: 4 ohms
Nominal Impedance: 2 x 8 ohms Power: D80 amplifiers recommended:
Power: 1,225 watts RMS, driven by LA8 front – 1,000/4,000 (RMS/peak) watts
Power: 2 x 1,600/6,400 watts (AES/peak) amplified controller also offering presets front; 500/2,000 (RMS/peak) watts rear
Dimensions (h x w x d): 23.5 x 56.7 x 35 Dimensions (h x w x d): 21.7 x 51.2 x 27.6 Dimensions (h x w x d): 23 x 51.2 x 38.4
inches inches inches
Weight: 235 pounds Weight: 205 pounds Weight: 291 pounds

54 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

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www.aesshow.com
 REAL WORLD GEAR
NEXO MSUB15 dBTechnologies VIO S318
yamahaproaudio.com dbtechnologies.com,
americanmusicandsound.com
Type/Format: Operable in omni or
Type/Format: Bass reflex, semi-horn-
cardioid mode; ground-stack or fly with
loaded; ground-stack and points for
integrated hardware
rigging frame
Components: 1 x 15-inch cone Components: 3 x 18-inch cones with
4-inch voice coils
Frequency Response: 40 – 120 Hz (-6 dB)
Frequency Response: To 35 Hz (-10 dB)
Max SPL: 136 dB Max SPL: 143 dB
Nominal Impedance: 8 ohms Nominal Impedance: N/A
Power: Self-powered (class D, 2,700 watts
Power: NXAMP 4x4 recommended
RMS); integrated 64-bit DSP
Dimensions (h x w x d): 17.2 x 20.9 x 27.7 Dimensions (h x w x d): 20.5 x 51.2 x 31.5
inches inches
Weight: 79 pounds Weight: 229 pounds
Electro-Voice X12-128 Martin Audio SXF115
electrovoice.com martin-audio.com
Type/Format: Direct-radiating bass Type/Format: Direct-radiating, bass-re-
reflex; ground-stack flex; ground-stack or fly with integrated
hardware
Components: 2 x EV DVF4180 18-inch
Components: 1 x 15-inch cone (4-inch
cones
voice coil)
Frequency Response: 33 – 200 Hz (-3 dB) Frequency Response: 50 – 150 Hz (+/-3 dB)
Max SPL: 147 dB Max SPL: 136 dB
Nominal Impedance: 4 ohms (parallel Nominal Impedance: 4 ohms
mode) and 8 ohms (dual mode) Power: 800 watts AES, 3,200 watts peak;
iK42, iK81 or MSX power plant recom-
Power: 4,000 watts continuous
mended
Dimensions (h x w x d): 20.4 x 43.5 x 29.9 Dimensions (h x w x d): 19.7 x 20.1 x 22.6
inches inches
Weight: 195 pounds Weight: 99 pounds
56 LIVE SOUND INTERNATIONAL OCTOBER 2019
QSC KS118
qsc.com
Type/Format: Direct radiating, switchable
omni or cardioid modes (minimum 2
units required for cardioid)
Components: 1 x 18-inch woofer
Frequency Response: 41 Hz – 98 Hz (- 6
dB)
Max SPL: 136 dB
Nominal Impedance: Self-powered
Power: Class D, 3,600 watts peak
Dimensions (h x w x d): 25.2 x 20.5 x 30.9
inches (including casters)
Weight: 104 pounds
D.A.S. Audio LX-218CA
dasaudio.com
Type/Format: Direct-radiating bass
reflex; cardioid preset switch for
multiples; ground-stack or fly with
integrated hardware
Components: 2 x 18 cones
Frequency Response: 28 – 100 Hz (-10 dB)
Max SPL: 142 dB
Nominal Impedance: N/A
Power: Self-powered (2,400 watts con-
tinuous); variable crossover frequency,
polarity reversal switch
Dimensions (h x w x d): 22 x 51 x 24.9
inches
Weight: 177 pounds
www.ProSoundWeb.com
 RWG Spotlight Listing
RCF TTS 18-A II | rcf.it
The TTS 18-A II is a compact, high-output subwoofer module for use in combina-
tion with RCF’s TT+ 2-way full-range loudspeakers and other systems requiring
low-end reinforcement. The specially designed single 18-inch neodymium woofer
is light in weight while incorporating an inside-outside copper voice coil, silicon
double spiders, and a magnet assembly with minimum power compression.
The onboard class D amplifier delivers 1,400 watts RMS (2,800 watts peak)
joined by a full DSP-controlled input section with selectable presets (i.e., cardi-
oid mode) as well as proprietary RDNet remote monitoring and control. Mean-
while, a control panel on the rear panel offers convenient adjustment of
volume, bypass, delay, presets as well as advanced functions.
KEY SPECIFICATIONS:
All components are housed in a rugged Baltic birch cabinet with weather- Components: 1 x 18-inch neodymium
proof treatment, which is outfitted with M20 pole receptables on both the woofer (4-inch voice coil)
top and side of the enclosure for added versatility. Frequency Response: 30 – 400 Hz
Max SPL: 137 dB
TECHNOLOGY FOCUS: In order to dissipate the heat generated by the Nominal Impedance: Self-powered
woofer’s powerful 4-inch voice coil, RCF has developed a unique internal Power: 1,400 watts
ventilation approach with very low power compression. Called the Hyper RMS, 2,800 watts
Ventilation System, it’s a complex combination of ventilation ducts in the peak
voice coil former, in the magnetic structure, and in the woofer’s basket. Dimensions (h x
w x d): 27.9 x 21.3 x
OF NOTE: The amplifier integrates a low-noise, 32-bit DSP circuit that’s
28.8 inches
controlled through RDNet networking to easily handle soft-clipping limiters,
Weight: 114.6
RMS limits, polarity, amplitude, timing, and EQ. All settings are available
pounds
inside the integrated RDNet software.

Alcons Audio BF121 Coda Audio SCP TW AUDiO BSX

alconsaudio.com codaaudio.com twaudio.de

Type/Format: Direct radiating, available

in road and installation versions
Components: 1 x 12-inch direct-radiating
woofer, vented
Frequency Response: 40 Hz – 300 Hz
(+/- 3 dB)
Max SPL: 128 dB driven by Sentinel10
amplified controller; 133 dB comparative
Nominal Impedance: 4 ohms
Power: Sentinel3 or Sentinel10 amplified
controllers recommended
Dimensions (h x w x d): 15.7 x 19.7 x 19.7
inches
Weight: 78.3 pounds (install version – 65
pounds)
Type/Format: Sensor controlled, vented;
ground-stack or fly with optional hardware
Components: 2 x 18-inch cones with
neodymium magnets
Frequency Response: 25 – 120 Hz (-3 dB)
Max SPL: 144 dB
Nominal Impedance: 4 ohms
Power: LINUS10 DSP amplifier recommend-
ed (3,000 watts AES, 12,000 watts peak)
Dimensions (h x w x d): 21.6 x 43.6 x 31.5
inches
Weight: 209.4 pounds
Type/Format: Hybrid, can operate in
standard or “Infra-bass/UltraLow Fre-
quency” modes
Components: 2 x 21-inch cones
Frequency Response: 27 – 120 Hz
Max SPL: 142 dB
Nominal Impedance: 8 ohms (x 2)
Power: 2 x 3,600 watts program, 2 x 7,200
watts peak
Dimensions (h x w x d): 23.8 x 55.3 x 35.4
inches
Weight: 240.3 pounds

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 57

 REAL WORLD GEAR
RWG Spotlight Listing
Waveburg Pro HL118S LTR | waveburg.com TECHNOLOGY FOCUS: Cabinets are stackable
The HL118s LRT either vertically or horizontally, making it
is the result of possible to optimize output for medium, long
an extensive and ultra-long throw applications.
research into
horn impedance OF NOTE: Waveburg also offers the WS115S, a
and response. It 15-inch subwoofer with many of the same qual-
ities as the HL118S, including a premium driver,
benefits from an
high-fidelity and low-distortion performance,
extremely high
rigid cabinet, stacking flexibility and more.
quality 18-inch
(4-inch voice coil)
woofer coupled
KEY SPECIFICATIONS:
with a critically
Components: 1 x 18-inch
tuned 2.35-meter
European woofer
folded hyperbolic horn. It’s a full-sized bass horn with true audiophile
Frequency Response: 60
performance, designed to eliminate the nearfield problems often
Hz – 250 Hz (+/- 3 dB)
found in horn-based approaches.
Max SPL: 143.5 dB
Tight bass performance is further enhanced with rigid cabinet brac- Nominal Impedance:
ing. Onboard amplification delivering 1,000 watts continuous (up to Self-powered
7,000 watts peak) helps in meeting the highest performance standards Power: 1,000 watts contin-
in even the most demanding applications. ues, 7,000 watts peak
The LF driver contains a weather-protected cone and plate, with a Dimensions (h x w x d): 54.3 x 22.8 x 31.8
unique basket design for enhanced heat dissipation. The multi-layer inches
Birch plywood cabinet is coated with a texture paint designed for Weight: 136.4 pounds
maximum durability, as is the front-mounted steel grille.

FBT SUBLine 18Sa Ramsdell BPSD21 Sub Engine S2 ZSOUND SS2

fbtusa.com ramsdellproaudio.com prozsound.cn

Type/Format: Direct-radiating bass Type/Format: Direct radiating, vented

Type/Format: Double-tuned band pass
reflex; ground-stack
Components: 1 x 21-inch neodymium Components: 2 x 18-inch waterproof
Components: 1 x 18-inch cone (custom
cone woofers
B&C)
Frequency Response: 33 – 140 Hz (-6 dB) Frequency Response: 28 Hz – 180 Hz (+/-
Frequency Response: 32 – 300 Hz (+/- 3 dB)
3 dB)
Max SPL: 133 dB
Max SPL: 138 dB
Nominal Impedance: N/A Max SPL: 142 dB

Power: Self-powered (class D, 1,200 watts Nominal Impedance: 8 ohms

Nominal Impedance: 4 ohms
RMS), DSP with presets, polarity reverse Power: 4,000 watts program Power: 2,400 watts
switch; non-powered version also available
Dimensions (h x w x d): 30 x 25.5 x 30 Dimensions (h x w x d): 23 x 49 x 27
Dimensions (h x w x d): 24.7 x 20 x 25.6
inches inches
inches
Weight: 92.6 pounds Weight: 150 pounds Weight: 198 pounds

58 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 RWG Spotlight Listing
K-array Firenze-KS8 | k-array.com TECHNOLOGY FOCUS: The Firenze-KS8 is also integrated
The KS8 is a com- in EASE Focus simulation software to easily establish
pact, self-powered, configurations such as cardioid, virtual arc, and several others
weather-resistant in helping to optimize performance for the specific application.
subwoofer providing
an exceptional peak OF NOTE: Another option from K-array is the Mugello-KS5, a
versatile, double-21-inch-loaded self-powered (class D) sub
output of 148 dB
with large ports that are fully symmetrical to the woofers,
SPL. It incorporates
meaning the back loading of the drivers is consistent with no
proprietary IPAL
port air turbulence. All DSP functions can be controlled with
technology, in- remote managing software via USB or RS485 on a standard
cluding a powerful XLR. There are different DSP presets to optimize system per-
amplifier module, a formance.
differential pressure
sensor, a “zero
latency” DSP, and KEY SPECIFICATIONS:
dual 21-inch woofers that are specifically designed for Components: 2 x 21-inch
high efficiency. neodymium woofers (5.3-inch
voice coils)
Further, IPAL technology provides the ability to correct
Frequency Response: 25 – 150
the intrinsic uncertainties of the acoustical system in
Hz (-3 dB)
real time. System linearity is insured by feedback correc-
Max SPL: 148 dB
tion based on a differential pressure control method.
Nominal Impedance: Self-powered
And, the integrated DSP ensures an astonishing 10 μs Power: 8,500 watts RMS
(microseconds) latency on the critical feedback paths, Dimensions (h x w x d): 23.6 x 55.9 x 30.3 inches
fostering “analog type” feedback approach with the flexi- Weight: 326.2 pounds
bility of a DSP core.

Void Acoustics Stasys 118 Bose ShowMatch SMS118 EAW RADIUS RSX218
voidacoustics.com pro.bose.com eaw.com

Type/Format: Direct-radiating; ground- Type/Format: Direct-radiating with

Type/Format: Reflex-loaded enclosure;
stack or fly in arrays via integrated push-button cardioid operation, vented;
ground-stack
rigging ground-stack and pole-mount
Components: 1 x 18-inch (4-inch voice Components: 1 x 18-inch cone (4.5-inch Components: 2 x 18-inch cones (3-inch
coil) cone voice coil) voice coil)
Frequency Response: 35 – 200 Hz (+/- 3 dB) Frequency Response: 29 – 3000 Hz (-10 dB) Frequency Response: 27 – 125 Hz
Max SPL: 133 dB Max SPL: 135 dB
Max SPL: 139 dB
Sensitivity: 92 dB Nominal Impedance: N/A
Nominal Impedance: 8 ohms Nominal Impedance: 4 ohms Power: Self-powered (1,400 watts max);
Power: 1,200 watts RMS Power: PowerMatch amplification recom- DSP includes proprietary Focusing and
mended; 3,000 peak power handling DynO
Dimensions (h x w x d): 22 x 22 x 23.6
Dimensions (h x w x d): 21.2 x 30.1 x 30.5 Dimensions (h x w x d): 31.1 x 20.6 x 44
inches
inches inches
Weight: 95.9 pounds Weight: 136.5 pounds Weight: 153 pounds

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 59

 REAL WORLD GEAR

JBL Professional VTX S28 Mackie SRM2850 Yorkville Paraline PSA2S

jblpro.com mackie.com yorkville.com

Type/Format: Direct-radiating bass Type/Format: Direct-radiating bass Type/Format: Bass reflex, flyable version
reflex, cardioid arrayable; ground-stack reflex; ground-stack available
or fly with integrated hardware Components: 2 x 15-inch woofers in bass
Components: 2 x 18-inch cones
Components: 2 x 18-inch dual-coil cones reflex cabinet
with neodymium magnets Frequency Response: 34 – 100 Hz (+/-3 Frequency Response: 30 Hz – 100 Hz
dB) (+/- 3 dB)
Frequency Response: 27 – 300 Hz (+/-3 dB)
Max SPL: 135 dB Max SPL: 134 dB
Max SPL: 144 dB
Nominal Impedance: N/A Nominal Impedance: Self-powered
Nominal Impedance: 2 x 8 ohms
Power: 2,400 watts program, 4,800 watts
Power: 2 x 2,000 watts continuous Power: Self-powered (800 watts RMS)
peak
Dimensions (h x w x d): 19.5 x 48.1 x 36.3 Dimensions (h x w x d): 24.5 x 44 x 24
Dimensions (h x w x d): 18 x 38 x 23.7
inches inches
inches
Weight: 183 pounds Weight: 144 pounds Weight: 156 pounds

Meyer Sound 1100 LFC

meyersound.com Renkus-Heinz VA15Si WorxAudio TL118SS
renkus-heinz.com commercial.presonus.com
Type/Format: Direct-radiating bass
reflex, vented; ground-stack or fly with Type/Format: Direct-radiating bass Type/Format: Direct-radiating, omni or
integrated hardware reflex; ground-stack or fly with integrated cardioid modes
hardware
Components: 2 x 18-inch cones Components: 1 x 18-inch cone (2.5-inch
Components: 1 x 15-inch cone with dual voice coil)
Frequency Response: 30 – 85 Hz (+/- 4 dB) suspension
Frequency Response: 26 – 150 Hz (-3 dB)
Max SPL: N/A Frequency Response: 40 – 120 Hz (+/- 3 dB)
Max SPL: 128 dB Max SPL: 136 dB
Nominal Impedance: N/A
Nominal Impedance: N/A Nominal Impedance: 4 ohms
Power: Self-powered (2-channel Class
Power: Self-powered; non-powered
AB/H amplifier with complementary Power: Self-powered by PXD-2500 ampli-
version also available (1,000 watts AES at
MOSFET output stages) fier (2,500 watts)
8 ohms)
Dimensions (h x w x d): 20.5 x 52.6 x 33 Dimensions (h x w x d): 19 x 24.4 x 22.6 Dimensions (h x w x d): 22.5 x 28 x 30
inches inches inches

Weight: 249 pounds Weight: 120 pounds Weight: 135 pounds

60 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 RWG Spotlight Listing
Verity Audio SUB136TP | vaudiopro.com
TECHNOLOGY FOCUS: The SUB136TP
The SUB136TP is an active, dual 18-inch subwoofer that can be stacked hori- can be controlled via the company’s
zontally or vertically and positioned to form an ultra-low frequency cardioid proprietary V-NET product network
array. management system, with fully
The onboard DSP reduces potential for destructive energy below 30 Hz independent DSP control functionality.
and provides delay, crossover, and EQ for maximum performance from the
dual 1,200-watt (AES) amplifiers. OF NOTE: Also available from Verity Audio
The SUB136TP is designed to serve as a companion subwoofer to Verity is the SUB118TL, a single 18-inch subwoof-
Audio’s IWAC220P and IWAC220iP line arrays in both touring and installed er that that can also be flown or stacked
applications. It can be stacked either horizontally or vertically, and is also with IWAC220 line arrays. Housed in a Birch
available in a passive version. A detachable wheel board simplifies trans- enclosure like the SUB136TP, it carries a
port, while a top tray adds both protection in addition to allowing stacking maximum peak SPL rating of 134 dB.
for transport.

KEY SPECIFICATIONS:
Components: 2 x 18-inch ferrite
woofers
Frequency Response: 28 Hz – 1.4
kHz (-10 dB)
Max SPL: 141 dB
Nominal Impedance: Self-powered
Power: Class D, 2 x 1,200 watts (2,400 watts total, AES)
Dimensions (h x w x d): 19.7 x 41.7 x 37.4 inches
Weight: 238 pounds

VUE Audiotechnik al-8SB Clair Brothers iS218-M Yamaha DXS18

vueaudio.com clairbrothers.com yamahaproaudio.com

Type/Format: Direct-radiating bass
reflex, supports cardioid configurations;
ground-stack or fly with integrated
hardware
Components: 1 x 18-inch (4-inch voice
coil) cone
Frequency Response: 36 – 200 Hz (+/-2.5 dB)
Max SPL: 142 dB
Nominal Impedance: 8 ohms
Power: V Systems Engine recommended
(provides power, DSP, optimization)
Dimensions (h x w x d): 20.5 x 18.9 x 19.7
inches
Type/Format: Direct radiating in a tuned
dual-chamber, dual-reflex enclosure;
ground-stack or fly with integrated
hardware
Components: 2 x 18-inch cones
Frequency Response: 38 – 180 Hz (+/- 2 dB)
Max SPL: 134 dB
Nominal Impedance: 4 ohms
Power: 2,400- to 4,000-watt amplifier
recommended
Dimensions (h x w x d): 25.2 x 42 x 27.1
inches
Type/Format: Band-pass design, select-
able cardioid mode
Components: 1 x 18-inch cone (4-inch
voice coil)
Frequency Response: 32 – 120 Hz (- 10 dB)
Max SPL: 136 dB
Nominal Impedance: Self-powered
Power: Class D, 800 watts continuous,
1020 watts peak
Dimensions (h x w x d): 26.8 x 22.2 x 28.4
inches

Weight: 140 pounds Weight: 214 pounds Weight: 110 pounds

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 61

 REAL WORLD GEAR
RCF SUB9006-AS
rcf-usa.com
Type/Format: Direct-radiating bass
reflex; ground-stack
Components: 2 x 18-inch cones (4-inch
voice coils) with neodymium magnets
Frequency Response: 30 – 400 Hz (-3 dB)
Max SPL: 142 dB
Nominal Impedance: N/A
Power: Self-powered (7,200 watts peak);
DSP controlled input section
Dimensions (h x w x d): 22 x 46.8 x 30.9
inches
Weight: 189.6 pounds
Tannoy VSX 18DR
tannoy.com
Type/Format: Direct-radiating bass
reflex; ground-stack
Components: 1 x 18-inch cone
Frequency Response: 40 Hz – 3 kHz (-3 dB)
Max SPL: 135 dB
Nominal Impedance: 8 ohms
Power: 2,000 watts program
Dimensions (h x w x d): 23.1 x 25.6 x 25.6
inches
Weight: 99 pounds
62 LIVE SOUND INTERNATIONAL
Fulcrum Acoustic CS121 K-array KS5
fulcrum-acoustic.com k-array.com
Type/Format: Direct-radiating subcardi- Type/Format: Direct-radiating bass
oid; ground-stack or fly with mounting reflex; ground-stack or fly (install only)
points with integrated hardware
Components: 1 x 21-inch (6-inch voice Components: 2 x 21-inch cones with
coil) neodymium cone neodymium magnets
Frequency Response: 20 – 125 Hz
Frequency Response: 29 – 143 Hz
Max SPL: 136 dB
Max SPL: 138 dB (-10 dB rear rejection)
Nominal Impedance: N/A
Nominal Impedance: 8 ohms
Power: Self-powered (class D, 2 x 3,500
Power: Single amplifier, 2,000 to 3,000 watts); integrated DSP, onboard touch
watts recommended screen
Dimensions (h x w x d): 23.6 x 45.3 x 33.5
Dimensions (h x w x d): 29.7 x 24.5 x 30
inches
inches
Weight: 132 pounds Weight: 230 pounds
Statement showing the Ownership, Management, and Circulation of Live Sound published monthly (12 issues) for October 1, 2019. ISSN 1079-0888. Annual subscription
price: Requester.
Location of known office of Publication is EH Media, LLC., 111 Speen St. Ste. 200, Framingham, MA 01701-2000.
Location of the Headquarters of General Business is EH Media, LLC., 111 Speen St. Ste. 200, Framingham, MA 01701-2000
Publisher: Kevin McPherson, EH Media, LLC., 111 Speen St. Ste. 200, Framingham, MA 01701-2000
Editor: Keith Clark, EH Media, LLC., 111 Speen St. Ste. 200, Framingham, MA 01701-2000
The Owner is: EH Media, LLC., 111 Speen St., Ste. 200, Framingham, MA 01701-2000. Stockholders are Kenneth D. Moyes, Patti A. Moyes Trust, Gary Schroeder, Julie
Jacobson, Ashley E. Moyes Trust, Michael G. Moyes Trust, Christine Ayers, Walter Merritt, EH Media, LLC., 111 Speen St., Ste. 200, Framingham, MA 01701-2000.
Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 percent or more of total amount of bonds, mortgages, or other securities: None
Publication Title: Live Sound Issue Date for Circulation Data Below: September 2019
Extent and Nature of Circulation:
Average No.Copies No. Copies of Single issue
Each Issue During Single Issue Published
Preceding 12 Months Nearest to Filing Date
A. Total Number of Copies 17,467 17,077
B. Legitimate Paid and/or Requested Distribution
1. Outside County Paid/Requested Mail Subscriptions Stated on PS Form 3541 16,255 15,862
3. Sales Through Dealers and Carriers, Street Vendors, Counter 54 38
Sales, and Other Paid or Requested Distribution Outside USPS
4. Requested Copies Distributed by Other Mail Classes Through the USPS 13 7
C. Total Paid and/or Requested Circ. 16,322 15,907
D. Nonrequested Distribution
1. Outside County Nonrequested Copies Stated on PS Form 3541 270 253
3. Non requested Copies Distributed by Other Mail Classes Through the USPS 96 99
4. Nonrequested Copies Distributed Outside the Mail 483 500
E. Total Nonrequested Distribution 849 852
F. Total Distribution 17,171 16,579
G. Copies not Distributed 297 318
H. Total 17,468 17,077
I. Percent Paid and/or Requested Circ. 95.1% 94.9%
Electronic Copy Circulation:
Average No.Copies No. Copies of Single issue
Each Issue During Single Issue Published
Preceding 12 Months Nearest to Filing Date
A. Request and Paid Electronic Copies
B. Total Request and Paid Print Copies + Request/Paid Electronic Copies
6,781
23,103
7,182
23,089
C. Total Copy Distribution + Requested/Paid Electronic Copies 23,952 23,941
D. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) 96.5% 96.4%
I certify that 50% of all my distributed copies (Electronic & Print) are legitimate requests. I certify that all information furnished on this form is true and complete.
(Signed) Kevin McPherson, Publisher
OCTOBER 2019 www.ProSoundWeb.com
 NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM

SynAudCon is bringing its Sound System Design course to ing coordinator.

Oklahoma City on November 18-20, 2019, where attendees Duvall (pictured
will receive instruction from one of the industry’s top teachers, left) studied
Pat Brown. He’ll be presenting a logical and comprehensive audio engineer-
approach to system design that begins with the room. ing and previ-
Specifically, Brown will address loudspeaker characteristics, ously worked
how loudspeakers react within an enclosed space through vis- for Allen &
ible demonstrations, understanding and using specs such as Heath as a com-
sensitivity, directivity, power handling, and amplifier power mercial solution
ratings. He’ll also instruct of how to collect and interpret the specialist, Bose James Duvall (Left) Richard Cruz Jr. (Right)
Room Impulse Response (RIR), most effective use of room as an IT direc-
modeling programs, and much more. tor, SXSW as onsite engineer, and WAVE as a technical ser-
A detailed course manual and an audio click-rule – a Windows vice director and project manager. Cruz, meanwhile, comes
calculator program that demonstrates the interaction of the to VUE after heading up the marketing department at Carvin
variables in systems – are provided. Upon completion, attendees and TCS Audio for 18 years. He also runs a recording studio
are eligible for 24 Renewal Units (RUs) and 12 Cedia CEUs. To in his spare time.
find out more and register, go to prosoundtraining.com.
Michael Kurcab has joined d&b audiotechnik Corporation as
To mark the 35th anni- part of the business development team, working as a business
versar y of its found- development manager and reporting to senior manager Casey
ing, L-Acoustics has Johnson. Kurcab (pictured left) comes to d&b after owning and
announced the creation operating Equi-
of the Audio Engineer- librium Audio
ing Society (AES) Dr. since 1999.
Christian Heil Future In addition,
of Sound scholarship, Matt Collins
a stipend of $5,000 has joined the
o f fere d annu all y to d&b sales team
graduate students in as regional
the field of audio engi- manager for
neering who are mem- the U.S. North-
bers of the AES and who w e s t . “A s w e
Dr. Christian Heil demonstrate curiosity continue the Michael Kurcab (Left) Matt Collins (Right)
and dedication to shap- growth of d&b
ing the future of sound. The first scholarship has been granted audiotechnik Corporation, we anticipate great success for
to McGill University student Ben Creelman, who is pursuing a both Michael and Matt,” states Marc Lopez, vice president
Master of Music degree in the field of sound recording. of marketing. “With Michael’s vast experience in pro audio
L-Acoustics traces its beginning to 1977, when Heil (pic- and Matt’s support of the sales team, we know we can count
tured here), who holds a PhD in particle physics, attended a on both of them to carry the d&b message even further.”
Pink Floyd concert and was inspired to
serve the live events industry by cre-
ating and developing pragmatic solu-
tions for sound professionals. In 2001,
he presented the “Wavefront Sculpture
Technology” (WST) paper at the 111th
AES Convention, applying the princi-
ples of optical diffraction and wavefront
propagation to the field of audio, and
establishing criteria for the effective
coupling of sound sources.

VUE Audiotechnik has named James

Duvall as central regional sales man-
ager and Richard Cruz Jr. as market-

www.ProSoundWeb.com OCTOBER 2019 LIVE SOUND INTERNATIONAL 63

 Back Page

A MATTER OF ORIENTATION
Why your RTA app may
not be showing what you
think it is.
by Michael Lawrence
Figure 1

I
was recently reading a forum discussion about whether
an external microphone is necessary when using a
mobile app for RTA/spectrum analysis. It’s occurred
to me that the physical dimensions of the device (cell phone)
might cause some significant spectral variance as the phone’s
orientation changed relative to the source.
In other words, the RTA response will change depending on
how you hold the phone. (Especially if it’s an iPhone 4… zing!)
So I decided to measure it.
Figure 2
I used my phone to record pink noise playing from a loud-
speaker, holding the phone in several orientations. I then ran
these recordings through a spectrum analyzer, with Figure 1
showing the result.
It’s not a flat line, but that’s not really important in this con-
text (although it should cause concern about using this device to
inform tonal decisions). What’s important is how the response
changes with orientation. The pink trace is phone facing the
source, blue is phone facing sideways, green is backwards, and
dark red is phone lying flat (on my palm). Figure 2 offers the Figure 3
same data banded into 1/3 octave bands to show the trends.
It’s somewhat obvious that the high-frequency response The larger the dimensions of the mic body, the more effect we
is decreased with rotation – the body of the phone physically can expect – and to lower frequencies. This is why measurement
blocks short HF wavelengths. mics tend to have small, skinny necks. It’s also a good explana-
It’s not as intuitive, though, that facing the device straight tion of why the largest deviations in off-axis response found
ahead also gives a wideband boost. This is a boundary effect – by Ethan Winer in his measurement mic comparison are Radio
the same principle behind pressure zone mics (PZMs). Shack SPL meters – the device, and the mic diaphragm itself, are
At around 630 Hz, the wavelength is starting to get small enough both much larger than the rest of the mics in the comparison.
to “see” the phone. (The rough rule of thumb is that we can ignore So the answer to “Can I use the built-in mic?” is “It depends
boundaries that are less than 1/4 wavelength in size, so for a large what you’re trying to achieve.” A mobile device spectrum analyzer
smartphone, the boundary effect at 630 Hz is right on schedule.) should have no problem accurately identifying feedback frequen-
So a larger device – an iPad, for example – should cause bound- cies, etc., but I would be very hesitant to use such a device to draw
ary effects to a lower frequency than a phone. Figure 3 compares any conclusions about the tonal response of a loudspeaker or mix.
the phone being held “free field” facing the loudspeaker (red) Also note that many models will start to clip around 95 dB
and the same placement only with a tablet pressed against SPL or so, and this will significantly change the spectrum, so
the back of the phone, effectively creating a larger boundary. it’s probably not a show-level solution. LSI
There’s a visible reflection off the surface but I used 1/3 octave
banding to make the trend clear. Michael Lawrence is an independent front of house engineer and
The takeaway here is that we must be cognizant of the fact system tech. He is also the technical editor of various pro audio
that the sound field can actually be changed by the presence of publications. Read more from Michael and reach him at precision-
a mic. (Schrodinger, your table is ready.) audioservices.com.

64 LIVE SOUND INTERNATIONAL OCTOBER 2019 www.ProSoundWeb.com

 Power Trio. (Bass power, that is.)

KS118
Commanding and Powerful

KS212C
KS112 Directional
Ultra-Portable
6116-2019-09-2019

Introducing the K Subwoofer Series.

Three models. Three incredible approaches to low frequency sound reinforcement.
All 100% genuine QSC performance, quality and reliability.
Which subwoofer is right for your application? Find out at qsc.com/ks.

with Product Registration

*3 year standard; 6 years with product registration. ©2019 QSC, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC, LLC in the U.S. Patent and Trademark Office and other countries. PLAY OUT LOUD is a trademark of QSC, LLC.