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

COM

GETTING WHAT OUTLINING TECHNIQUES FOR SUCCESSFUL

LIVE RECORDING

YOU GIVE
INSIDE

CHARTING THE EVOLUTION OF AN EVER-

CHANGING CONSOLE SHOWFILE
Inside the diverse career of veteran A PROCESS FOR MANUALLY COMPENSATING
audio professional Meegan Holmes. FOR OUTBOARD GEAR LATENCY
 THE DAWN
OF A NEW KARA

KARA II: THE NEWEST MEMBER OF THE K SERIES

Thanks to a winning design and powerful output coupled with light weight and diminutive form factor, Kara
is a perennial bestseller. With the addition of Panflex, Kara II inaugurates a new era of added flexibility and
directivity control. Kara II is a powerhouse with four-in-one directivity: one box meets the needs of any audience
geometry. Kara II morphs to fit any design, offering consistent coverage and SPL distribution where you want
it – and only where you want it. www.l-acoustics.com
Mix Fast. Not Furious.
Built on our latest generation 96kHz XCVI core, SQ sets the new standard
for compact digital mixers — delivering pristine, high resolution audio
with a class-leading latency of <0.7ms.

Fully expandable with 96kHz Dante, Waves and SLink cards.

Introducing the
2028 VOCAL MICROPHONE
· The renowned DPA sound
· Natural vocals – from folk to metal
· Reduces feedback issues
· A sturdy mic designed for live
· For wired or wireless use
MSRP $699.95
Built for life on the road
Capturing true sound – that’s your passion.
Producing an unforgettable show – that’s your job.
The right mic lets you do both. Effortlessly. The 2028 Vocal Microphone
is designed for the challenges of the live stage. Use it wired or with a
wireless system. Either way, just plug it in and hear the voice shine like
never before.
dpamicrophones.com/2028
Sound doesn’t optimize.
Sound systems do. The SL-Series equips users with more of the
industry’s most valuable commodity: time. Designed for maximum
speed and efficiency from planning through transport to rigging,
the SL-Series includes hardware and software for every eventuality.
Minimal stress for optimal performances.

Read what users say at sl-series.com

More art. Less noise.

 In This Issue FEBRUARY 2020 | VOL. 29, NO. 2
FEATURES 36
22 GETTING WHAT YOU GIVE Inside the diverse career
of veteran audio professional Meegan Holmes.
BY KEVIN YOUNG
34 THE PATH TO CARNEGIE HALL Talking with the audio
crew about shaping theatre sound for Little Big Town
on tour. BY GREG DETOGNE
52 RARIFIED (MOVING) A look at recent – and ongoing –
pro audio deployments. BY LIVE SOUND STAFF

DEPARTMENTS
12 ASK JONAH Getting two signals to “play nice” in the
mix. BY JONAH ALTROVE
14 FEEDBACK Reader responses regarding stage plots
and input lists. BY LIVE SOUND STAFF
16 TALKIN’ YAK Growing as an audio professional while
keeping an eye on work/life balance. BY JIM YAKABUSKI
32 INSIGHT Outlining some techniques for successful 28
live recording. BY CHRIS MITCHELL
38 BACKSTAGE CLASS Rolling with the changes – the
evolution of a console showfile. BY MICHAEL LAWRENCE
46 SOUND BYTES Education and community – audio
professionals coming together in person and online.
BY LIVE SOUND STAFF
56 GIG SCHOOL The new DMI-KLANG and 3D monitoring
capability. BY BECKY PELL

EQUIPMENT
8
8 LOADING DOCK New loudspeakers, software updates,
control surfaces, amplifiers, subwoofers and more.
20 REALITY CHECK Tips for setting up a digital console
for monitor mixing. BY ALEŠ ŠTEFANČIČ
26 FIRST LOOK Early details on the new Smaart SPL
sound pressure level measurement tool.
BY LIVE SOUND STAFF
28 SPOTLIGHT Taking a tour through the carry-on kit of
a local freelancer. BY CARL STEWART
40 ROAD TEST Checking out the new DPA Microphones
2028 vocal microphone. BY CRAIG LEERMAN
42 TECH TOPIC Manually compensating for outboard
gear latency. BY MICHAEL REED
50 SHOW REPORT Record number of systems at the
Loudspeaker Showcase in Anaheim.
BY LIVE SOUND STAFF
57 REAL WORLD GEAR An overview of medium-format 20
line arrays and a look at recent models. Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 2, is published monthly
BY LIVE SOUND STAFF 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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IN EVERY ISSUE
6 FROM THE EDITOR’S DESK
64 BACK PAGE
4 LIVE SOUND INTERNATIONAL
all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham,
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Reproduction of this magazine in whole or part without written permission of the publisher is
prohibited. Live Sound International® is a registered trademark of EH Publishing Inc. All rights
reserved. 2020 EH Media, LLC. Check us out on the web at http://www.prosoundweb.com.
FEBRUARY 2020 www.ProSoundWeb.com
From the Editor’s Desk
One of the things that the editorial team
values most at LSI and ProSoundWeb
is hearing from our readership. We sin-
cerely appreciate anyone who takes the
time, and has the consideration, to share
their thoughts, experiences and questions
with us, and in this issue, you’ll see several
examples.
First up is Feedback, where Eric Fergu-
son’s article in the previous issue regarding stage plots and input
lists prompted several thoughtful responses along with a valuable
suggestion. Next, we received a very interesting query from a
reader for Jonah Altrove about the challenges that come up with
blending in the mix process, with Jonah offering his thoughts
on the matter – not just to the person asking the question, of
course, but to everyone.
Going a step further, technical editor Michael Lawrence and
two colleagues (LSI contributor Michael Reed and loudspeaker/
DSP designer Sam Feine) took the interactive concept out to the
field, hosting a recent informal gathering in upstate New York
for anyone interested in networking and technical discussion
about “things pro audio.” (Read all about it beginning on page
48.) This is followed by a conversation Samantha Potter had
with front of house engineer Michelle Pettinato about Michelle’s
Mixing Music Live (MML) online video training available to all.
Elsewhere in the issue, be sure to check out Kevin Young’s
profile of multifaceted audio professional Meegan Holmes, who
shares a wonderful sense of optimism about her career and the
people that make up this industry. Also be sure not to miss
Carl Stewart’s latest contribution, where he takes a “deep dive”
inside the tool bag he’s assembled in more than two decades of
freelance work.
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: Meegan Holmes
behind the console in the warehouse
at Eighth Day Sound’s Los Angeles
location.
Photo Credit: Tony Luna Talamantes
FEBRUARY 2020 | VOL. 29, NO. 2
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 | Aleš Štefančič | Carl Stewart
Michael Reed | James Stoffo | Eric Ferguson | Samantha Potter
Kevin Young | Chris Mitchell | Jim Yakabuski | Greg DeTogne
Jonah Altrove
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
ASSOCIATE PUBLISHER Jeffrey Turner
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ASSOCIATE PUBLISHER ONLINE Mark Shemet
mshemet@prosoundweb.com | 603.748.4067 | Fax: 603.532.5855
PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
jlitchfield@ehpub.com | 508.663.1500 x226
Circulation and Customer Service inquiries should be made to:
Live Sound Customer Service
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REPRINTS: Wright’s Media
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ProSoundWeb
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 Loading Dock PRODUCTS FRESH OFF THE TRUCK

dBTechnologies VIO C Audio-Technica 3000 Series Expansion

A series of 2-way
active line source
loudspeakers de-
signed for a range
of installed and
portable applica-
tions. They foster
creation of both
horizontal and
vertical arrays to
enhance coverage
options, assisted by a rigging system designed
for fast implementation of configurations. The
series includes three enclosures loaded with
neodymium transducers, all with a 1.4-inch-exit
compression driver. Models include the VIO C12
(12-inch woofer); VIO C15 (15-inch) and VIO C212
(dual 12-inch). The HF drivers work with a pro-
prietary waveguide as well as an asymmetrical
horn providing a stated 22.5-degree horizontal
coverage pattern. All models are driven with the
latest generation Digipro G4 class D amplifier
stated to deliver 1,600 watts RMS, joined by DSP.
Stated maximum SPL is 139 dB for VIO C12, 140 dB
for VIO C15, and 141 dB for VIO C212. VIO C mod-
ules are also are equipped with the company’s
RDNet card that fosters real-time monitoring and
remote control via Aurora Net software. Infrared
ports on the top and both sides of each cabinet
help the loudspeakers to recognize the size and
configuration of the system when linked together
horizontally or vertically. The preamp is also
ready for future upgrades with a Dante card.
dbtechnologies.com
The company’s frequency-agile diversity UHF wireless
system is now equipped with a network port that allows
control and monitoring along with the same set up,
operation and sonic signature as standard 3000 Series
components. The networking option allows the system to
be compatible with A-T’s proprietary Wireless Manager
software, a Mac OS/Windows app for remote configura-
tion, control, monitoring, spectrum management and frequency coordination
of compatible devices. The software package offers a range of control/man-
agement functions of networked receivers, grouped into three tabs: Device List,
which auto-discovers connected compatible A-T hardware and allows users to
populate a device list of the company’s and other manufacturers’ systems; Fre-
quency Coordination, which allows real time spectrum scanning or the option
of using the pre-loaded TV channel database for off-site planning; and Monitor,
which allows live monitoring of connected systems with the option of filtering
the displayed devices by assigned tag groups. Parameters monitored include AF,
RF, battery, transmit power and more. audio-technica.com
L-Acoustics Kara II
A modular line source loudspeaker designed for applications
needing 35 meters (about 115 feet) or more of throw. New Pan-
flex technology gives it four-in-one directivity to allow one box
to cover virtually any audience geometry. Directivity patterns
include 70 or 110 degrees symmetrical and 90 degrees asym-
metrical, steering to either the left or right. In the 70-degree
configuration, it is stated to provide 2 dB more than at 110 degrees. The 2-way
design is loaded with neodymium transducers, including a 3-inch-diaphragm
compression driver and dual 8-inch cone drivers in a bass reflex design. Made
for touring, the cabinet has ergonomic side and rear handles as well as en-
closure protection elements. The captive rigging system is fitted with a visual
safety indication to help foster more simple and secure deployment. A set of
rigging accessories enable flown and stacked deployment in various configu-
rations. An install version of Kara II will ship later this year. l-acoustics.com

Solid State Logic (SSL) Live V4.10

An update for the range of SSL Live consoles, including the L100, L200, L300, L350, L550 (including L500
and L500 Plus) as well as SOLSA software. The release provides several new features, including Event
Manager, V-Auxes/V-Stems, Spectrum Analyzer, Dynamic EQs and DAW Control. Event Manager allows
creation of Events that can perform one or more actions when one or more input states are met. V-Aux-
es and V-Stems offer a way to make mix adjustments from groups of paths using VCAs. The Spectrum
Analyzer is a graphical FFT analyzer overlay, which is now available across channel and bus, EQ and
filters. The 1-, 2- and 4-band Dynamic EQs in the software’s FX Rack have been redesigned with a graph-
ic-based GUI as well as further levels of control. DAW Control brings support for the HUI protocol, primarily for engineers requiring
record or play back of Pro Tools systems. solidstatelogic.com

RCF D3PTH
An immersive audio platform headed by the E1 rack-mount unit that includes all necessary processing
to drive immersive systems, controlled in real-time via D3PTH control software. Added attention has
gone into ensuring the technology works with more “typical” loudspeaker configurations. For example, a
frontal system setup, with line arrays arranged above the performing stage, is stated to be sufficient to
create an immersive audio sound field that allows the listener to perceive an expanded stereo image,
with added transparency and intelligibility. Suggested configurations include between five to nine line
arrays, set up over the stage. To maximize the stereo envelopment, a dedicated convolution-based
reverb section has been fine tuned and combined with an acoustics-related reverb section. In addition, the acoustical engine provides
early reflections and contributions from a generic virtual room to improve the perception of audio object positioning. rcf.it

8 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

DiGiCo
DMI-KLANG
An immersive in-ear
mixing expansion
that can be mounted
directly into the company’s consoles equipped
with DMI slots. KLANG’s immersive in-ear mixing
systems are designed to foster spatial and trans-
parent in-ear monitoring. With lower listening
levels – stated as up to 6 dB less on average – it
helps eliminate the feeling of isolation associated
with normal in-ear stereo mixes while lowering
fatigue. DMI-KLANG connects directly to the con-
sole’s internal audio stream without additional
hardware I/O or overhead, making it possible to
route any audio channel from the console to the
DMI-KLANG and return the immersive mix to the
Aux merge input. Via the KLANG console link, mon-
itor engineers can stay in their usual mix workflow
and use snapshots, faders and knobs. Available
DMI cards offer MADI (TP, BNC), Optocore, Dante
and other digital formats. Additionally, by utilizing
the KLANG:app, personal mixing can be done on
any tablet, smartphone and PC/Mac. digico.biz
Alcons Audio
LR24
A 3-way, biamped
“mid-size” line array
equipped with the
company’s pro-ribbon
technology for mid and high frequencies. The
cylindrical wavefront of the RBN1202rs 12-inch
ribbon transducer and the acoustically and elec-
tronically symmetrical component configuration
are designed to enhance pattern control in both
the vertical and horizontal planes. The RBN1202
is stated to have power handling of 2,500 watts
and RMS-to-peak ratio of 1:15 from 1,000 Hz to 20
kHz. The MF section has dual 6.5-inch cones with
a neodymium motor structure, and it’s coaxially
mounted behind the HF driver in a horn-loaded
configuration. The LR24 is driven by the Senti-
nel amplified loudspeaker controller, optimizing
the system’s response by configuration specific
VHIR drive processing and feedback. The system
facilitates both compressed and non-compressed
suspension while enabling angle-setting on the
cabinets without lifting the array. alconsaudio.com
K-array Capture-KMC50
The company’s largest line array microphone to date incorporates 16 x 6 mm electret condenser capsules in
a 50-cm configuration. The polar response is cardioid in the horizontal plane and very narrow in the vertical
plain, and as a result, when mounted vertically, it rejects sound outside the coverage field (i.e., above, below
and behind the mic). Dedicated accessories are available to arrange the mic as needed while still maintain-
ing a clean look, including a flown, multi-unit array configuration. Higher directivity can be attained by linking
up to four units to create a continuous steerable array. k-array.com
www.ProSoundWeb.com
NEXO NXAMP4x4mk2
A controller/amplifier combining class D ampli-
fication with 32-bit/96 kHz converters and 64-bit
signal processing. It is stated to deliver 3,300
watts per channel at 4 ohms and 4,500 watts
per channel at 2 ohms. The 3RU package weighs about 55 pounds. Users can
set all functionality from a simplified front panel, which has one knob and a
large LCD color touchscreen. The tactile graphic display is designed to enable
faster and easier navigation, providing direct access to all essential param-
eters. On the back, four analog inputs use cascaded converters designed for
low output noise. Four digital inputs are available through the rear-panel
expansion card slot, offering optional AES/EBU, EtherSound, Dante or AES67
inputs, all with automatic analog fallback. A native dual Ethernet port fosters
integration with NEXO’s NeMo system management software. Users can
control the amplifiers remotely and daisy-chain models through a Remote
Control card fitted as standard. Additional rear-panel connectivity includes
RS232 serial and general-purpose I/O ports along with Speakon outputs for
each of the four channels. A mains voltage range of 100 to 240 volts makes
the amplifiers compatible with worldwide power specifications and all types
of generators. usa.yamaha.com
Waves Audio FIT Controller
A control surface that delivers operation of the
company’s eMotion LV1 mixer to mix engineers who
prefer the tactile response of faders, knobs and
buttons. It’s designed to function as an integrated
16-fader bank with the LV1, made possible with 16 + 1 motorized 100 mm fad-
ers, each with mute, solo, and select buttons, a multi-function rotary control
and a bright display for each channel. Fader banks are controlled using eight
dedicated layer switches for toggling between the eight factory or custom
layers in the LV1. The channel rotary controls can be set to adjust preamp
gain or pan per channel, with the corresponding function label shown in the
display. In addition, the 16 select channel toggles can be set to “User” mode
to provide easy access to Mute Groups and user-assignable keys. The FIT
Controller weighs 4.5 pounds and can be fit with rack ears to mount into a
19-inch 7U rack space. Rear panel connections include a USB Type B port for
computer connection, 12-volt DC power input, and two 5-volt USB outlets for
external LED lighting. waves.com
Radial Power Clean Surge Suppressors
A line of surge suppressors that consists of two
rack-mount models, including a basic version
with 11 outlets (8 on rear panel, 3 on front),
and another version with 9 outlets (8 on rear
panel, 1 on front) that also includes LED lighting to illuminate rack equipment
mounted below in a variety of colors and intensities. The MOV (Metal Oxide
Varistor), a critical component, is designed to provide enhanced thermal pro-
tection and a long lifespan. Both units utilize shunt mode technology and are
non-ground contaminating for lower system noise, and they also include a
USB charging port. A high-rejection RF interference filter is used to keep high
frequencies and AM radio signals out of the power line. radialeng.com
FEBRUARY 2020 LIVE SOUND INTERNATIONAL 9
 LOADING DOCK
Sennheiser HD 25 LIGHT d&b audiotechnik KSL-SUB
Headphones that combine A subwoofer available in both flown and
the sonic signature of ground stack versions that’s designed to ex-
the original HD 25 with a tend the frequency response of a KSL Sys-
simpler headband design. tem down to 36 Hz with dispersion control
Stated as capable of han- and low-frequency headroom. It operates
dling high sound pressure with two forward-facing 15-inch drivers and
levels, the closed, su- a single rear-facing 15-inch driver which,
pra-aural HD 25 LIGHT can driven with 2-way active amplification, provide cardioid directivity control.
be utilized in high-noise Both versions measure 39.4 x 35.4 x 17.7 inches, with a weight of 181 pounds.
environments. It comes Driven by D80 amplifiers, stated output is 139 dB. Using a new adapter frame,
with a dual-sided, 1.5-me- KSL-SUB can be deployed above KSL-Tops as part of a flown array. Designed
ter long detachable cable. to fit within standard sized shipping container and trucks, it’s available in
Also included is a screw-on touring carts with protective covers. dbaudio.com
jack adapter (1/8-inch to 1/4-inch, 3.5 mm to 6.3
mm). sennheiserusa.com
Focusrite Pro ISA ADN8 & ADN2
The ADN8 is an analog-to-digital
64 Audio A18s (A-D) card providing compatibility
Custom in-ear monitors based on the company’s with Dante Audio-over-IP networking
existing 18-driver for the company’s ISA 828 MkII and
A18t platform, ISA 428 MkII mic preamps. It pro-
building from this vides ADAT Optical, AES3 and Dante
concept with a connectivity at rates up to 24-bit/192
re-tuned sound kHz. The card offers primary and
signature, new secondary RJ45 Dante output ports,
drivers, and a new an AES59-configured DB25 connector
crossover that for AES3 output, and a pair of TOSLINK connectors for ADAT output. The ADN2
allows it to play at is an optional 2-channel 24-bit/192 kHz A-D card engineered to provide ana-
higher volumes. The A18s also utilizes proprietary log-to-digital conversion for the ISA One mic preamp and DI. The card offers
LID (Linear Impedance Design), intended to help primary and secondary RJ45 Dante output ports, an XLR connector for AES3
ensure consistent frequency response regardless output, a TOSLINK connector for ADAT output and RCA connector for S/PDIF
of the source devices the monitors are working output. Word clock I/O on BNC connectors on both cards allows synchroniza-
with. 64audio.com tion with many external devices. pro.focusrite.com

Electro-Voice PXM-12MP
A 2-way powered stage monitor with a coaxially aligned 12-inch woofer and 1.75-inch high-frequency
transducer. It also expands the company’s portable loudspeaker portfolio due to a 90- x 90-degee
coverage pattern, and it comes with several crossover settings. The 55-degree floor monitor angle is
intended to enable artists to stand as close or as far away as necessary without loss of intelligibility.
A 2-channel class D 700-watt amplifier, developed with EV’s sibling brand Dynacord, helps the monitor
achieve stated maximum sound pressure level of 129 dB. Proprietary QuickSmart DSP, operated via a
backlit LCD panel and a push-button encoder, provides IIR/FIR settings for optimization. The integrated 3-band EQ offers different
factory presets for various application modes as well as five individual user presets. A high-Q notch filter is designed to eliminate
feedback frequencies. The recessed connection panel on the side of the loudspeaker offers two XLR/TRS combo mic/line inputs,
an individual phantom power option, a stereo RCA AUX input, and an XLR THRU input. An XLR MIXOUT output allows the cabinet to
act as a basic 3-channel mixer that can send the mix to another loudspeaker. The 15 mm plywood enclosure, equipped with a pole
mount, is covered with EV-Coat finish. electro-voice.com

Mackie MP Series Expansion

The MP-320, MP-360 and MP-460 join the current series of in-ear monitors. MP-320s have a triple dy-
namic driver design intended to help facilitate musical separation with added low-frequency response
and clarity in the mid and high frequencies. MP-460s are equipped with a quad-balanced armature
designed to optimize vocal clarity and detail. All three new models employ a 3-way crossover intended
to provide balanced sound across the stated 20 Hz to 20 kHz frequency range. An over-ear design helps
keep the monitors securely in the ear and the cables behind the head. The new models have ergonom-
ically molded enclosures and come with four different types of ear tips – foam, silicone, wide-bore silicone, and triple flange – in
small, medium, and large sizes. The detachable cables are shielded, internally braided, and equipped with MMCX connectors. The
monitors come with a hard-molded case and a gold-plated 1/8- to 1/4-inch adapter. mackie.com

10 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

Earthworks
SR3314 &
SR5314
Wireless vocal
microphone capsules that couple a small-dia-
phragm cardioid condenser capsule with a class
A amplifier circuit, leveraging an assortment of
the company’s patented and proprietary tech-
nologies. The SR3314 works with any handheld
wireless transmitter that utilizes a standard 3-ring
concentric connector, including models from
Shure, Lectrosonics, Sony, Line 6, Audio-Technica
and others. The SR5314 works with the following
models from Sennheiser: Digital 9000 Series, Digi-
tal 6000 Series, 2000 Series, and Evolution G4 500,
300 and 100 Series. The capsules are designed
to provide extended flat frequency response and
clean impulse response. This is furthered with a
tight cardioid polar pattern, consistent low-fre-
quency response across a range of distances, and
attenuation of sound sources located beyond 90
degrees (with maximum rejection at 180 degrees).
earthworksaudio.com
DiGiCo Quantum338
A digital console
platform based
on seventh-gen-
eration FPGAs
and including 128
input channels
with 64 buses
and a 24 x 24 matrix, all with channel process-
ing. Three 17-inch, high-brightness multi-touch
screens allow both the meter bridge and soft
quick select buttons to be displayed on each
screen. There are also 70 individual TFT channel
displays, and the floating Quantum chassis offers
38 x 100 mm touch-sensitive faders laid out in
three blocks of 12 fader banks, plus two dedicated
user-assignable faders, each with high-resolution
metering. Included as standard is 32-bit A/D and
D/A conversion alongside six single or three re-
dundant MADI connections, dual DMI slots, and a
built-in UB MADI USB recording interface. Mustard
Processing, Spice Rack, Nodal Processing and True
Solo, all launched last year, are also standard.
digico.biz
Countryman Phantom Power Supply
A portable unit that can operate on one 9-volt
battery, two 9-volt batteries for extended life, or
a 9-volt wall adapter. In addition, selectable 12-,
24-, and 48-volt output settings allow the unit to
extend battery life for microphones that don’t
require 48-volt power. The supply is designed to
withstand adverse conditions often encountered
in live performance environments, including a
die-cast aluminum body and low-profile switches. countryman.com
DAS Audio EVENT-26A & EVENT-115A
The EVENT-26A is a 2-way, symmetrical, compact, self-pow-
ered line array with double 6.5-inch cone drivers in a
“v-shaped” configuration designed to provide uniform
100-degree horizontal coverage. Additional aspects include
an injected polypropylene cabinet, PowerCon in/out con-
nectors, and DSP presets with DASControl. Audio power is
provided by a 2-channel class D amplifier stated to supply
800 watts (peak) that also includes 24-bit DSP processing
supplying crossover, presets, delays, limiters and FIR filters.
An EVENT-26A array configuration can range from four to
16 cabinets. The EVENT-115A is a wooden cabinet (birch
plywood), compact self-powered front-loaded bass reflex
subwoofer that uses a single 15-inch woofer specifically
designed for use with the EVENT-26A. Compatible rigging
hardware allows it to be flown. Power comes from a class D amplifier rated to
deliver 1,200 watts (peak). An LCD screen with the DAScontrol interface simpli-
fies preset selection. dasaudio.com
ASI Audio x Sensaphonics 3DME Music
Enhancement
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www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 11

 Ask Jonah
THE RIGHT BLEND
Getting two signals to “play nice” in the mix.
by Jonah Altrove
Hi Jonah:
My question is about blending, which
is something I have a hard time
with, though not always. What is
your method and why? For instance,
blending things like piano with elec-
tric or acoustic guitar, or making the
bass and kick work together better.
Any help or advice is welcome. Fre-
quently I find that it’s not necessary
to blend much, but then there are
those times...
– Anonymous
Any difficulties with getting two signals
to “blend” in a mix are often rooted in
a psychoacoustic phenomenon called
auditory masking, which describes how
our perception of one sound can be
affected – masked – by the presence of
another sound.
12 LIVE SOUND INTERNATIONAL FEBRUARY 2020
There are entire textbook chapters
about this, but the basic “gist” is that
inside the cochlea in our inner ears,
there are a bunch of hair cells called
stereocilia whose job it is to react to
incoming sound waves. Each hair cell
only responds to a relatively narrow
range of frequencies (called a critical
band), not unlike a single filter band on
a graphic EQ.
More importantly for this discus-
sion, the hair cells will only respond to
the loudest signal in their frequency
range. Basically, the stereocilia are bad
multitaskers.
How does this translate into useful
information behind the mixing console?
A signal with a lot of 1 kHz energy can
mask the ear’s ability to hear the 1 kHz
energy in a quieter signal. In other words,
multiple mix elements that have similar
spectral content can fight for space. If
you’ve ever spent time dialing in each
instrument to perfection only to have
them disappear into an undefined, blurry
mess when playing together, this is why.
Try thinking about which frequency
ranges are most critical to the sound of
each instrument, and remove what’s not
as important with your channel EQ. Also,
try cutting back that frequency range on
other inputs as well. This gives each input
its own space in the mix.
As an example, if there are two electric
guitars, maybe give one a mid-cut and
allow the other to have a more mid-heavy
tone. In this case, it’s normal for each
input to sound a bit thin on its own, but
everything should gel nicely when it all
comes together. LSI
Jonah Altrove is a veteran live audio pro-
fessional on a constant quest to discover
more about the craft. Send him your “Ask
Jonah” questions at askjonah@livesoundint.
com.
www.ProSoundWeb.com
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 Feedback
HITTING A CHORD
Reader responses regarding stage
plots and input lists.
by Live Sound Staff
Editor’s Note: Eric Ferguson’s contribution in the previous issue,
“Simple Yet Vital” (LSI January 2020), detailing best practices with
input lists and stage plots, struck a chord with several readers who
reached out to Eric with their thoughts on the topic. We’re pleased
to share them here.
E
njoyed your article on input lists, etc. Been in the busi-
ness 45 years and no one has outlined it better. Still
working at Westbury Music Fair in Westbury Long
Island, my plan for retiring at 85 is working out perfectly.
Hopefully some of these kids will read your article and make my
life a little easier. As you know, they won’t, and alas I will grit
my teeth and change half of the stage when the techs arrive.
Happy New Year. Fight the good fight.
Charlie Trantum
Head of sound at Westbury Music Fair
Local One I.A.T.S.E.
I just read your awesome article on stage plots and input lists.
I think the argument of drummer or audience perspective
really needs to end. Admittedly, back in the day, we did in
fact used to do drummers perspective almost exclusively in
the studio (and live for that matter for inputs). Once we got
to a more video-centric world with all of the concerts and
etc. that we were mixing, it always made more sense to use
audience perspective for everything and end the drummer
perspective issue. It just helped to keep things organized as
a GTR L would mean guitar on the audience perspective left
side. I guess it matters whether you are creating or recreating.
Anyway, that’s my 2 cents.
Roger Talkov
Managing Partner
Parsons Audio LLC
I really enjoyed your article about stage plots and input lists.
As an engineer working with a local folk festival for the last 20
years, it’s been an ongoing challenge to get the festival artistic
and production staff to get better information to the people
on the front lines.
There are two main issues working against us. First, most
of the staff are short term seasonal and/or part time employ-
14 LIVE SOUND INTERNATIONAL FEBRUARY 2020
ees, with a fairly
steady turnover
(and occasionally
a complete over-
haul), so often
there isn’t any-
one who knows
how to properly
vet the information provided. The challenge is the artists them-
selves. The festival is held over Memorial Day weekend, but the
artists have to apply by late November, are usually booked by
the end of December, and have to submit technical informa-
tion with the initial application. (I know exactly what you are
thinking here…)
About 15 years ago there was a band on my stage that was “not
as advertised” on Friday evening. Even the name had changed.
It seems the key members of the band that was supposed to
play had a major falling out on the Monday before the festival,
resulting in a breakup. One of them, recalling that they had a
gig in four days, put together a new group to play. They showed
up without a plot or input list, without giving anyone at the
festival a heads up that things had changed, and were very
demanding. They managed to struggle through a 35-minute
set, about half of which was spent changing instruments and
deciding what to play.
That night, over drinks with a bunch of other festival techs,
when the discussion shifted to how inaccurate some of the tech
info had been, my A2/stage manager/wife waited until others
had said how bad their day was, then told the gang about our
adventures. By the end of the night, we had created the “Most
Mutated Band Award” for the artist with the most mutated
stage plot at the festival. For a number of years, every stage
had its daily and weekend awardees, and we crowned a grand
prize winner on Monday night.
We’ve also had the complete opposite, with one of the
bands that has played our stage almost every year. The first
time, looking at the stage plot in advance, we thought it
was going to be a real challenge. (We have 35- to 45-minute
sets, with 10-minute changeovers; most acts are small, and
acoustic, but sometimes we get bigger groups.) Six people,
about 25 inputs listed. Three hours before they’re scheduled
to play, the bassist shows up and says: “Hi, we have changes
www.ProSoundWeb.com
to our setup. There are only five people, these six inputs are
gone, and can we move these others over here? On the way
down we worked up a set list that minimizes the number of
instrument changes we have.” Getting them onstage, miked
up, line checked and ready to play took six minutes, and they
get to use the four extra minutes of set-up time to play an
additional tune.
Things are a lot better now but there’s still a long way to go.
One aspect that will never change is that the acts will change
between the day they send in their tech and when they arrive
on stage. These days, they get sent a confirmation letter about
30 days out from the festival that requires a response, includ-
ing a current stage plot and input list. Even that’s not always
accurate, but it helps.
I’ve rambled on about stuff that probably is of little interest
to you, so I’ll get to the point of my email. Your input list has
Ringo on drums, but the stage plot shows Animal. Which one
is it? The answer is going to dictate which mics I use.
Terence Gray, CTS
First off, great article! You reminded me off all the “no-nos” I’ve
seen over the years when doing live sound. You really need to
see it to believe just how many outdated input lists and stage
plots are being circulated.
www.ProSoundWeb.com
One thing you might’ve mentioned (assuming the article had
space) is cable paths. I used to work at one venue regularly that
had quite a lot of stage space. You really had to think carefully
about how to get the sub snake, power, and monitor wedge
cables downstage for the lead vocal and whatever/whoever else
was positioned along the stage lip.
With few exceptions you this had to be done without running
cables from upstage. They had to be run either through a cable
ramp that cut across at the far stage left entrance (often unused),
or over the doorway, then to the downstage edge, and finally
across to the center position(s). The end result was a clean area
between the band members downstage and those mid stage,
enabling all to move around with freedom. Dress this up with
a nice rug and you’re off to the races!
I suppose crews in venues with these peculiarities would
already accommodate for it by default, hopefully. Then again,
some people won’t realize the error until sound check is set
to begin in five minutes (says Murphy!” I did see some stage
plots with an “X” through this gap and a “No Cables” note.
This, of course, made it very clear to those of us who saw the
plot prior to setup.
Charlie Post
PostProductions Audio
Chicago
FEBRUARY 2020 LIVE SOUND INTERNATIONAL 15
 Talkin’ Yak
IT’S ABOUT TIME
Growing as an audio professional
while keeping an eye on work/life
balance.
by Jim Yakabuski
I
n case your Apple watch is on the
fritz, I’d like to offer a friendly
reminder that there are only 24
hours in a day. What we do with those
hours is often dictated by our current
occupation in professional audio, but
sometimes the choice is actually our own.
16 LIVE SOUND INTERNATIONAL FEBRUARY 2020
You may be an audio engineer on tour
or employed at a venue, or perhaps your
role in the industry keeps you closer to
home working at an office that services
audio clients. Either way, if you’re lucky,
you’ll occasionally get a few hours or even
a few days off.
Whether I’m on tour or home between
tours and corporate shows, I constantly
struggle with “getting it all done.” When
I have a day off on the road, I generally
spend a good part of it advancing upcom-
ing shows, paying bills, making calls and
checking in at home. Days off are also great
for getting in a workout. I love to walk,
so a couple hours can easily be chewed
up exploring a nice area of the city you’re
visiting and burning some calories.
Somewhere in all of that, I also have
to find some breakfast, lunch and dinner,
so a few more hours are accounted for in
nourishing the body. (And having a hazy
IPA or two!) As the day winds down and
I’m looking ahead to my 8 am lobby call
the next morning, it’s usually an episode
or two of Netflix and off to sleep.
www.ProSoundWeb.com
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 TALKIN’ YAK
MAKING CHOICES
So where in these 24 hours (remember,
this is an “off” day) can we become more
educated, informed, technically proficient
audio professionals? There are tons of
great articles to read in this publication
and on the web, and new YouTube videos
to watch featuring fascinating topics like
parallel bus compression, networking,
new loudspeaker designs and so on.
You’ve also been meaning to try out
that new iPad app that lets you operate
the console remotely, and you’ve also
been wanting to build a template file
on the latest greatest console’s offline
software, but you just can’t seem to find
the time. (Well, my friends… I can’t find
it either!)
However, apparently many of my
friends and colleagues are able to find
these “lost” hours every day that aren’t
afforded to me, because they’re posting
on Facebook, Instagram and LinkedIn,
hosting a webinar and updating their
audio blog, all while working a full day
on tour or sleeping an extra few hours on
their day off. I can’t figure it out.
If you’re an audio pro who spends a
good portion of the year working the cor-
porate/industrial side of the business,
you can certainly relate to the problem
of too few hours left in the day for the
“other stuff” when the “actual” workday
is done. And there are big choices to make
after a 16-hour day of rehearsals and
shows: 1) Go straight to bed and wake
up an hour earlier the next morning to hit
the gym, or 2) Meet the rest of the crew
and clients in the bar for a nightcap to
wind down and be social. Oh, and when
exactly are you going to get to those 127
emails that have been piling up in the
inbox during this 10-day show?
I began by stating that I struggle with
this as much as the next person, so there
will be no life-changing answers here, I’m
afraid, but I wanted to write this piece
to encourage others who are dealing
with this issue to take a big breath and
know you’re not alone. I work with folks
who accomplish way more than me in a
day, and I work with people who don’t
seem to get much of anything done on
their days off (unless running up a big
18 LIVE SOUND INTERNATIONAL FEBRUARY 2020
bar tab counts!). Most of my friends and
colleagues work extremely hard and very
much deserve some extra sleep or one
more drink at the bar, so who am I to
judge?
My goal is simply to envision a healthy
work/life balance, do the best I can, and
let it go if I fall a bit short. I’ve learned
that I can’t focus too much on one activity
for an entire day and neglect the other
stuff.
When I wrap up
a long tour and
I finally land at
home, I do my best
to shut it all off for
a day or two and
focus entirely on
my family
I recently prepped for an upcoming
tour with an artist I hadn’t worked with
before and focused really hard (for weeks)
on learning all of the songs by review-
ing multitrack recordings of the show
(there were many stems of instrumen-
tation coming from playback computers)
so I would be intimately familiar with
the structure of each song. I don’t regret
that intense study time at all, but real-
ize in hindsight that many of the other
activities I usually incorporate into my
day were getting pushed aside. I had to
remind myself daily to get up from my
computer and take a nice long walk. The
work wasn’t finished, but I had to get
some air and stretch my legs.
HITTING THE PEAK
Whether we’re on tour, in the office, or
on show site, the hours in the day can be
dictated by our employers so we just have
to go with the flow, but when we have
some time off or a day to ourselves, it’s
important to divide up the hours so all
of the aspects of a healthy lifestyle are
being respected. Reading a John Grisham
book or watching some sports or Netflix
can seem like wasted time when there’s a
large to-do list screaming for attention,
but resting our minds and exercising
our bodies is vital to function at peak
performance.
When I wrap up a long tour and I finally
land at home, I do my best to shut it all
off for a day or two and focus entirely on
my family. The emails keep coming and
there are often details to wrap up at the
end of a tour, but I really try to push it all
aside for at least a couple of days.
When it’s time to get back to it, I try
to address the “to do” lists first thing
in the morning and free up the rest of
the day. I also use the time when my
family is at work or school to work on
those educational audio projects I’ve
been meaning to get to. There’s so much
to learn in our business. New software
and gear require hours of research and
study to master and there’s not often
time on show site to devote to that, so I
try to explore new products and refresh
myself on gear I haven’t used in a while
when I’m at home.
This is also the time I peek ahead at
my calendar to see what’s next, and what
gear I’ll need to be proficient on for that
upcoming tour or show. Practicing on
equipment or software when it’s not show
critical is wise, so I try to find the gear
locally and ask nicely if I can possibly
check out my show files and signal flow
before I’m in the hot seat.
When that’s done, I remind myself
that I’m actually HOME, and that doesn’t
happen enough during the year, so work
takes a back seat. First priority is spend-
ing time with and hugging my family, and
hopefully I can also fit in a nice long walk
with the puppies. 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 oth-
ers. He’s also the author of “Professional
Sound Reinforcement Techniques,” which
provides a collection
of tips and techniques
for mix engineers. It’s
available via Amazon.
www.ProSoundWeb.com
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 Reality Check
Laurence Eaves, monitor engineer for indie rock band The War On Drugs, at work on an SSL Live L500 Plus console.
EFFECTIVE & EFFICIENT
Tips for setting
up a digital
console for
monitor mixing.
by Aleš Štefančič
A
lthough I love mixing for an
audience at a venue, the real
challenge for me is mixing mon-
itors for artists on stage. It requires a
different mindset, where you have to deal
with multiple mixes at once, kind of like
playing chess against multiple opponents.
T he most intense and stressful
moments are when sound check starts
and we find ourselves dealing with mon-
itor cues from all musicians on the stage
20 LIVE SOUND INTERNATIONAL FEBRUARY 2020
at the same time – that adrenaline rush
can keep us going for quite some time.
But what will make great monitoring
engineers stand out is the speed at which
they can perform the tasks of making all
of those requests come true. To help in
achieving that, here are five things that
I always do when setting up my digital
console for monitor mixing.
hPut all sends in post-fader mode.
When mixing monitors from front of
house, the standard practice is to set the
auxiliary sends for monitors to pre-fader
mode and the effects sends to post-fader
mode. That way, front of house fader
movements don’t influence the monitor
mixes.
But since we don’t have to worry about
FOH mixing, things can be set up a bit
differently. Putting all the sends into
post-fader mode allows me to use what
would be “front-of-house mix” faders to
control all the sends for a particular chan-
nel at the same time with one channel
fader movement. This comes in really
handy when trying to ride a guitar solo
that is too loud or dealing with instru-
ments that have a lot of variation in level
between songs.
It’s also a crucial tool for dealing with
quick festival changeovers where some-
times there’s not even enough time to set
up input gains properly. Just remember
to put all of the channel faders to zero
and to return them to their initial posi-
tion once the level rides have been made.
hCreate a noise channel. When mix-
ing monitors, it’s of utmost importance
to be able to quickly identify auxiliary
sends on wedges and/or in-ear moni-
toring systems. This can be a lifesaver,
especially when running a high number
of sends and dealing with a huge amount
of channels.
www.ProSoundWeb.com
 So instead of trying to route a talk-
back microphone into a particular aux
send, set up an input channel that is
constantly running a pink noise signal.
You can then quickly send that signal
to a particular aux send to verify your
routing or identify any possible issues
on that monitor line.
In addition, those who are used to
listening to pink noise can also quickly
hear the changes between the sound of
different wedges when troubleshooting,
or even use that channel as a generator
for a measurement system. What must
be absolutely remembered is to mute the
noise channel when it’s not in use – it’s
no fun for anyone to be blasted with
high levels of pink noise when standing
in front of a monitor wedge, no matter
how hardcore they are.
hUse a reference listening wedge.
Whenever possible, set up a wedge at the
monitoring position to listen to what’s
going on in the performers’ wedges. It
can save a lot of time and trouble and
reduce the number of trips from behind
the desk to the stage.
In order for this to work, the wedge
has to be the same brand and model –
and using the same settings – as the rest
of the wedges that the artists are using.
As far as routing is concerned, route the
CUE output of the digital console to
the input of the reference monitor. This
allows either hearing particular inputs
when pressing the CUE PFL switch or
checking the entire monitoring mix by
pressing the auxiliary send AFL switch.
Also remember to aim the listening
wedge away from the audience area. It
can be extremely annoying for audience
members to intermittently get blasted
with either individual channels or full
monitor mixes when they’re trying to
enjoy the show.
One last thing to set up for the lis-
tening wedge: the control of its volume.
Most digital consoles allow control of the
volume of a CUE monitor with either a
master fader, headphones volume knob
or a user-defined rotary knob. Con-
trolling the volume offers the option of
discreetly checking for issues during the
show without disrupting stage volume
www.ProSoundWeb.com
levels and, most importantly, it allows
protecting our hearing from possibly
significant level changes between AFL
and PFL listening.
hLogically place and label sends.
When dealing with a large number of
monitor mixes, stereo and mono config-
urations, aux lines feeding side fills or
subwoofers for a particular act member,
it’s of utmost importance to avoid getting
lost in the maze of all those channels.
That’s why we must carefully plan and
position wedges on stage – it has to not
only fulfill the requirements of the artist’s
rider and be aimed for minimal interfer-
ence with mics, but it also has to make
sense in terms of translating what you see
on stage with how you lay out channels
on the console.
By consistently
using the same
method, we train
ourselves to
automatically know
where a particular
send is going to be
on both the console
and on the stage
I always start with the downstage wedge
that’s closest to me and work my way
towards the downstage one that’s farthest
away. These get assigned the first aux send
channels, number one being the closest
to me, with the numbers following down
the line to the last (farthest) wedge. Then
I repeat the same process for the upstage
wedges. The only digression from this
approach comes with drums, which for
me is always the last aux send of them all.
B y consistently using the same
method, we train ourselves to auto-
matically know where a particular send
is going to be on both the console and
on the stage. When dealing with a large
number of sends, I take out my tape and
Sharpie and write out the aux send num-
FEBRUARY 2020
ber and its name affixing it to a visible
place on the console.
Sometimes I even create a simple stage
map. That way I can always double-check
to make sure that I’m not adjusting the
wrong send for a monitoring cue, which
is always a sign of a disorganized monitor
engineer.
hAlways set up at least one reverb
mix. It doesn’t happen often, but some-
times there’s a request for a bit of reverb
on a particular channel in the mix.
Instead of saying: “Hold on, I have to
create a reverb send,” it’s always more
professional to fulfill that request within
seconds. This comes in especially handy
when running wedges and IEMs simul-
taneously, because there are definitely
more requests for some sort of spatial
emulation from IEM users.
Especially with more premium wedges
that are able to produce higher fidelity
sound, adding a bit of reverb can some-
times be extremely helpful for the artist
and put them into a place where they feel
creative and comfortable, which is always
the ultimate goal of a monitor engineer.
There are quite a few more important
aspects on the monitor side of things that
I haven’t touched upon here, but these
tips will improve the speed and reliabil-
ity of your monitor work. Even though I
believe that sometimes the major aspect
of monitors is not even about the techni-
cal side, but more about the psychology of
your approach and the reliability of your
presence on stage, having the technical
side locked down enables focusing on
other demanding tasks that are part of
the role.
The ultimate goal is to set up the con-
sole in a way that allows us to be the fast-
est and most reliable engineers possible,
able to respond to anything that might
come up regardless of the situation. LSI
Aleš Štefančič 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.
LIVE SOUND INTERNATIONAL 21
 In Profile

GETTING WHAT YOU GIVE

Inside the career
of veteran audio
professional Meegan
Holmes.
by Kevin Young

B
efore we begin our conversation, Meegan Holmes takes
a moment to herd her Labrador, Murphy, into her
office at Eighth Day Sound in Los Angeles. Being able
to bring Murphy to work is a perk, she says: “That’s the good
fortune of running the warehouse. I made that a rule. Actually,

CREDIT: TONY LUNA TALAMANTES

when I went for my interview in Cleveland with Eighth Day a
few years ago, Tom Arko (Eighth Day’s owner), had his dog in
the office. So it was like, ‘you know what? This is the kind of
company I want to work for.”
The kind of company she wants to work for – and the kind
of company she likes to keep – have factored into her career
from the time she began working in audio in the 1990s. It’s also
impacted her approach to any job; an approach that’s always
been defined by perseverance, the willingness to do whatever it
takes to ensure every gig is a success, and a desire to lift others
up in doing so.
During her 25-plus year career in audio, Holmes has taken
on a variety of roles, from stagehand to system technician, to
monitor and front of house mixer. Her current position, as
Eighth Day’s global sales manager, is the culmination of what
she’s always wanted to accomplish professionally and personally:
“If I were to say what my career goals are, more than anything
else they’d be to continue to help others achieve their goals and
to use whatever position I’m in to do that.”
That effort is tied to Holmes’ experiences both prior to and
during her career. “I’m the product of some amazing mentoring,”
she explains. “There were so many people who were incredibly
valuable and helped me not only to be a better professional,
but a better human.” That mentoring, she notes, began with
a high school music teacher who was instrumental in helping
her determine a path forward.
SHIFTING GEARS
Born and raised in Connecticut, Holmes started out as a musi-
cian; playing saxophone from age nine, attending a performing
arts high school, and then studying Sound Design and Compo-
sition at the California Institute of The Arts. There she trained
as a composer, classical and jazz saxophonist and vocalist, but
ultimately decided music wasn’t a viable career path.
Meegan Holmes behind the console in the Eighth Day Sound
warehouse.
“I had the harsh reality check that I wasn’t going to make
money doing music and was going to have to shift my thinking,”
she says, consequently transitioning to the CalArts Technical
Theater program, which allowed her to combine a passion for
music and a lifelong fascination with technology by studying
sound design and audio engineering.
That fascination continues to fuel her work: “Talking to engi-
neers and technicians about equipment, helping them navigate
their choices of what they might take on tour, or use for a
particular event, that keeps my mind stimulated. I’ll never get
bored of it, ever.”
Given her mother and father’s work in visual arts and music,
respectively, it’s no surprise Holmes gravitated to performing
arts. As a teen she volunteered at a Summer Stock Theater
in Connecticut where she was first introduced to production
technology and live mixing. But it was her high school music
teacher who originally suggested CalArts. Granted, her decision
to move to California was also based on the climate on the coast:
“I went to a prep school on the border of New York and Vermont
where there’s snow on the ground seven or eight months a year
and I just had enough of being cold.”
Before graduating in 1993, Holmes worked as a stagehand
through LA Stagecall, where she met crew members from Del-
icate Production. Impressed by her work ethic, Delicate gave

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 IN PROFILE

Holmes her first touring gig in 1997, as stage tech on the Lol-
lapalooza tour. “I’d done weekend warrior stuff before, but that’s
when I really dedicated myself full time to audio,” she notes.
Soon after, she began mixing FOH and monitors for acts like
Tenacious D, The Melvins, and a band she recalls particularly
fondly, Soul Coughing: “I’ve been very lucky throughout my
career to have clients I appreciate as artists and as good people,
which those guys certainly were; so talented and different from
anything going on at the time.” She went on to serve as mon-
itor/system tech on larger tours with artists including Natalie
Merchant, Tool and Queens Of The Stone Age, but eventually
stepped away from the road to work as project manager with
Delicate.

RISING TO THE CHALLENGES

Holmes has always gravitated toward complex, multi-band
shows and has developed a reputation for managing challenging
situations (and personalities) effectively to ensure every show
goes as smoothly as possible for everyone involved. As she
puts it: “Not your show. Not my show. Our show. We all want
the same thing even though sometimes it doesn’t feel like it.
We all want it to go great and for the audience to have a great

CREDIT: EMELY ORTIZ

time. That’s our primary directive.”
Working for a full-service production company, she continues,
“I had to get along with everyone doing audio, lighting and
video. Not only because I’d see them in the warehouse the next
week, but because there were times I needed them to help me
and they needed me to help them.”
That cooperative “all-in” ethic has been a theme throughout
her career. “I’ve always been like, ‘Look, I may not know your
gear or how it’s put together, but if you need something from
me, just say so and I’ll help you in any way I can. It’s not about
being a barrel of monkeys and fun to be around 24/7, it’s about
working hard and having a good attitude.”
While Holmes says that’s been integral to the opportunities
she’s been given over time, and her success overall, she also
credits the many co-workers and mentors who encouraged her
to take lessons, both positive and negative, from everybody
around her. “And I feel strongly about passing that along. That’s
a lot of my motivation.”
Polite and hard working never goes out of style, she adds –
which is something her parents taught by example. “Who I am,
to the core of my being, is their influence. My mother worked
as a caterer for many years and did art on the side. She was a
model for hard working behavior. When I was 15, she said, ‘I’m
not giving you an allowance anymore. I’m going to give you a
life-long gift. I’m going to teach you how to get a job, how to
interview for a job, and how to keep a job.’ At one point she even
taught me how to quit a job. Those were, hands-down, some of
the most valuable lessons I learned from her.”
That was critical to her advancement and informed her efforts
to cast a wide net in terms of the artists she’s worked with and
the positions she’s held. “I don’t think you should limit yourself,”
Holmes says, bluntly. “I certainly didn’t want to.”
With her beloved friend Murphy.
She also prefers to work with people who are happy with
what they’re doing on any given job – which, she adds, ties into
her “our show” ethic. “If we were doing a one-off for Delicate
and someone hated mixing monitors, I’d mix them. If nobody
wanted to patch the stage, I would. Or I’d do front of house. I
wanted to do whatever you didn’t want to do; just to not have
to hear anyone complain,” she says, laughing. “I didn’t want
to hear someone moan about how they had to mix monitors. I
was like, go do front of house – make yourself happy. I didn’t
care. I was happy just doing audio, and I felt the more exposure
I had to all aspects of what we did made me more of an asset.”
LEAVING THE COMFORT ZONE
Admittedly, partly owing to the demands of new technology
and pace of innovation, people’s roles in pro audio now often
require more specialized skill sets than when she started out
in the 1990s. Still, in her work at Eighth Day and in general,
Holmes makes a point of encouraging others to stretch and,
“do things that are outside of their comfort zone.”
Her own efforts to deepen her knowledge of various technol-
ogies and of the challenges they present to those working with
them served Holmes well in her years with Delicate; enhancing
her ability to work in multiple capacities, first as a touring
technician/engineer, a project manager, and, beginning in
2013, as an account manager. It also enabled her to foster a

24 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

wealth of close relationships with clients and other produc-
tion professionals in many facets of the entertainment and
production industry.
Those relationships, in her current role at Eighth Day, are
perhaps more important than ever. But establishing them wasn’t
always easy early on, at a time when there were far fewer women
working in the industry in general, and in audio specifically.
After she graduated from CalArts, several companies Holmes
applied to responded by saying that women were not hired for
touring. Full stop. Often, she says, women, Holmes included,
typically ended up doing lighting. “I kept trying to get on the
audio crew and finally got my employer to understand I pre-
ferred audio. And I was very fortunate I’d made friends with
the guys from Delicate and that they gave me the opportunity
to do Lollapalooza.”
That said, throughout her career Holmes’ positivity has been
tested – sometimes by the casual cruelty of others, but also by
just plain inappropriate behavior. “But when I feel I’m being
tested I’ll hold my ground. I’ll be confident and stay confident,”
she says. “I still have situations like that, although I don’t think
it has anything to do with my gender. It’s just somebody trying
to test how well I’ll hold my ground.”

CREDIT: FRANCOIS PARE

It’s fair to say those doing the testing will discover that
holding her ground is something Holmes is very adept at.
“Absolutely,” she says. “I had to be very stubborn and not get
discouraged. I’m positive that every woman in our industry,
and every professional woman, likely has some story (or many
stories) about an awkward moment that made them question
what they were doing or why.”
ACCENTUATING THE POSITIVE
For her part, Holmes never questioned her career choice, but
those experiences definitely informed her insistence on treat-
ing everyone she works with, in any capacity, with respect and
encouragement, which brings us back to Murphy, and dogs in
general. She notes that they can be somewhat easier to love
than people right off the bat “because,” she asserts, “and I say
this often, the reason we love dogs so much is that you get what
you give, instantly.”
Granted, the equation as applied to pooches is fairly basic
(i.e., a biscuit and a head scratch usually prompts instant joy).
But the same principles, with humans, go a long way to nur-
turing positive relationships and mutually beneficial results.
“If I’m helpful, kind, calm and compassionate with somebody,
I’m going to get that in return,” she says.
Rather than test others, Holmes prefers to inspire and edu-
cate. “I try to help people understand their value and help them
to hold their ground when they’re asking for something they
want from somebody they work for, for example.” That doesn’t
mean being unfailingly positive: “It can just be helping them
understand that the situation they’re in actually isn’t acceler-
ating their career; that it’s holding them back.”
While she no longer tours and doesn’t miss constantly moving
from one place to another, she still travels enough to get her
An upbeat Holmes working the KROQ Weenie Roast in 2015.
fix of the camaraderie and positive experiences touring offers.
“I do sales all over the world and sell jobs out of all of our four
offices,” she notes. “So I do catch the beginnings, or some dates
of the tours we have out. And I travel more for some specific
clients. But I don’t mix or tech now. If I had to jump in I could
help, but I’m not an engineer anymore, so it would be a rough
show,” she says, laughing again.
Rather, Holmes acts as an advocate for the event overall,
bridging the gap between artists, production crew, event man-
agers and clients. “Trying to help everybody have a successful
event, one where nobody feels compromised.” Among the annual
shows she cites as some of her favorites are the NARAS Pre-
Grammy Gala, which she’s been a part of for more than 15
years, and benefit concerts including Stars and Strings and
We Can Survive.
“I’m in a great position,” Holmes concludes. “I have opportu-
nities to help people grow technically, to show them they can
do more, to help both the people I work with and the people I
refer for work to achieve their goals and see their future clearly.
That’s one of my greatest joys and more my goal than anything
else – to keep fueling everybody’s passion for doing this. I just
love creating opportunities for people in any way that I can.” LSI
Based in Toronto, Kevin Young is a freelance music and tech writer,
professional musician and composer.

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 25

 First Look

SMAART SPL
Early details on a new
sound pressure level
measurement tool.
by Live Sound Staff

R
ational Acoustics, developer of Smaart sound system
measurement and analysis software, recently released
Smaart SPL, a new stand-alone SPL measurement and
monitoring software program. It provides the complete SPL Figure 1
measurement feature set from the company’s flagship Smaart v8
program in a purpose-built package, with an interface designed
for simplicity and speed. The new software offers a full-featured
solution for monitoring, metering, and logging SPL with a
format and a price point more accessible to users who don’t
require the FFT analysis functionality of v8.
“SPL monitoring in the live sound industry has become incred-
ibly important from a performance standpoint, as well as for
both health and safety and legal reasons,” says Rational Acous-
tics founder and president Jamie Anderson. “With the release
of the Smaart v8.4 update in November 2019, we included a
major expansion of Smaart’s SPL monitoring capabilities and
it was a logical next step for us to make those features avail-
able to a wider audience as a separate, lower-cost stand-alone
package.” (Figure 1)
Figure 2
UNDER THE HOOD
Smaart SPL uses the same multi-device multi-input approach as v8, figured independently for each metric to give instant visual
meaning that the number of simultaneously available calibrated feedback on levels. The meter grid can be resized and moved
inputs is not limited by the software in any way. Users can log to an external display – it also makes a great SPL meter bridge
data from as many microphones in as many locations as desired, for a mixing console (Figure 2 and Figure 3).
as long as they have sufficient hardware.
When logging is enabled, the program
displays a continuously updating SPL his-
tory timeline, where users can view the
entirely of the logging/logged event as well
as overlay multiple metrics and zoom in
on specific time ranges for a closer look at
the data. SPL data from each microphone
is written to a logfile in real time, in a data
format that can be easily exported into a
spreadsheet program or loaded back into
the program for later review.
The customizable SPL Meter Grid is
a useful “heads-up display” during the
show, with green/yellow/red “traffic
light” color thresholds that can be con- Figure 3

26 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

LEQ
When it comes to evaluating the level of a song, set, or entire
performance, the standard metrics found on most basic meters –
SPL Fast and Slow – can fall short, giving only seconds of context
when minutes are required. An Equivalent Continuous Sound
Level (Leq) metric calculates a single-number dB equivalent over
a given number of minutes, indicating an “average” level over
time (or more accurately, a continuous level that would result
in the same total sound energy over the period).
For the dynamic signals found in live sound reinforcement, a
10- or 15-minute Leq (Leq10 or Leq15) measurement becomes
an important tool to evaluate compliance with noise ordinances
and level limits. The longer time periods don’t suffer from the
instability of an SPL Fast or Slow measurement, and they allow Figure 4
mix engineers freedom to craft a mix that has loud, exciting
moments as well as quieter, intimate moments, while remaining standards, or if logfiles need to withstand legal scrutiny, the
within a compliant long-term level. Smaart SPL goes beyond program has been designed to work with SG Audio’s 10EaZy
the usual Leq1 and Leq10 metrics, allowing users to configure hardware for a turnkey Class 1 or Class 2 calibrated solution.
an unlimited number of Leq metrics, from 1 second up to 1,440 Current Smaart v8 owners have access to the same feature
minutes (24 hours). set as Smaart SPL, as of the v8.4 update. However, users look-
ing to add SPL monitoring capability to additional computers
EXPOSURE will find Smaart SPL an attractive option without the need
Smaart SPL can also measure and compute NIOSH and OSHA to purchase additional installations of Smaart v8. For more
exposure dosage in real time – a timely feature given the growing information on Smaart SPL and to download a free demo, go
wave of consciousness about Noise-Induced Hearing Loss (NIHL) to rationalacoustics.com. LSI
in the live sound reinforcement industry.
The Exposure N and Exposure O met-
rics display the measured noise dose in
percentage, just like an industrial noise
dosimeter. This allows users to determine
whether show levels are safe without
resorting to a data table or pulling out
a calculator.

REMOTE MONITORING
Smaart SPL and v8 both offer an inte-
grated SPL web viewer, which allows
remote viewing of the history plot and
meters via a standard web browser on
any device connected to the network or,
with proper network configuration, any
internet-enabled device anywhere in the
world. This feature allows a production
trailer to keep tabs on levels across multi-
ple stages at a large festival, for example
(Figure 4).

CLASS COMPLIANCE
For general measurement purposes,
Smaart SPL can be used with any user-sup-
plied measurement microphone and audio
interface, along with a microphone cal-
ibrator. In cases where class compliance
is required – to comply with applicable

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 27

 Spotlight
WHAT’S IN THE BAG?
Taking a tour
through the
carry-on kit of a
local freelancer.
by Carl Stewart
I
t seems that we’re all interested
in seeing what’s in our comrades’
gear bags, so I’ll scratch that itch.
Although in my case it’s not a gear bag –
it’s a tool bag. A DeWalt tool backpack,
to be more precise.
As a local freelancer who doesn’t tour
(although I’m willing to do the occa-
sional out-of-town gig), I typically get no
advance information whatsoever about a
gig, other than the time and place. You’d
think that as much as the clients want
the gig to go off without a hitch, they’d
be generous with advance information.
And maybe they are. Perhaps the log-
jam occurs with the producer, or the
tech director, or the company that hires
me (AV or AV personnel). They all have
a vested interest in getting as much
advance information as possible to me,
but that information never makes it down
that far.
That being the case, I have to be pre-
pared for anything, and I never know
what I’m walking in to. This means some-
one else designed the system and I need
to work with whatever shows up.
Fortunately, it’s usually not too com-
plex. Sometimes it’s as simple as a couple
of active loudspeakers on sticks and an
analog mixer. Other times, it’s a Yamaha
LS9 or Behringer X32 mixer with some
mains and a couple of delays (active loud-
speakers on sticks).
Now let’s add some front fills and
subwoofers, plus, of course, two or
three foldback loudspeakers. Another
last-minute add-on: a Genter interface to
28 LIVE SOUND INTERNATIONAL FEBRUARY 2020
Figure 1
facilitate a phone conversation over the pack may be of interest because they’re
sound system. One last-minute add-on not a part of a touring engineer’s typical
after another, and I’m supposed to “make kit. Many of the items that I carry are
it happ’n, cap’n.” I do, and in my humble things I’ve previously needed on site and
opinion, usually make it look easy. didn’t have. That only happens once, and
Typically, I walk on to the jobsite it hasn’t happened in a long, long time.
with my folding hand truck, on which You may be wondering why I chose
is stacked my backpack, a smaller bag a backpack instead of a toolbox. It’s
containing screw guns (a regular drill and because I like the way it’s organized, and
an impact drill) with bits and a charger, when I have to take the stairs because the
and (most importantly) an insulated elevator is broken or inaccessible, I can
pack with snacks, a sandwich, and energy hoist it onto my shoulders. The items in
drinks (Figure 1). If the event happens the front pocket of the backpack (Figure
the same day as load-in, I also have my 2) include the following:
laptop, a pair of headphones, and show
blacks.
Note that the headphones aren’t
expensive. I’m not listening to the
mix, and I don’t need CD quality. I
use them merely to isolate a chan-
nel to figure out what mic the pre-
senter is holding if it’s not obvious
from where I’m located across the
room, or to figure out who’s sing-
ing what harmony part in the
band – things of that nature.
Otherwise, I want
to hear what
the audience
is hearing.
GETTING
STARTED
S ome o f the
Figure 2
tools in my back-
www.ProSoundWeb.com
 SPOTLIGHT
• A headlamp that makes life a lot easier
in dark trucks and backstage areas.
• AAA batteries for my headlamp.
• A small first aid kit (which, surpris-
ingly, is often the only first aid kit on
site).
• A sharp folding knife.
• A set of tensioner wrenches (not
visible).
• A set of hex wrenches (not visible).
• A jeweler’s screwdriver with inter-
changeable bits (not visible).
• A contact electrical volt indicator.
• A healthy food bar (or two).
• A roll of electrical tape. I hasten to add
that this is not for use on trusses. I have
a personal aversion to using e-tape on
trusses, not only because it’s messy and
gooey but because it’s unsafe. How is
it unsafe? Glad you asked.
A few years ago, I was called in to help
strike a gig that I didn’t load in. There
was truss almost everywhere I looked
overhead, and the crew lead asked for
a couple of volunteers to break cable
between trusses so they could be low-
ered. I volunteered, got into a scissor
lift, and disconnected a couple of Socapex
cables.
When I turned to proceed to the next
cable join, I discovered that a lot of the
cables on the trusses were now actually
resting on the light fixtures because the
e-tape that had been used to secure them
had let go due to the heat radiating from
the fixtures. As I reached out to grab the
cables I’d disconnected and secure them
to the truss or the lift, one slipped off
the lighting fixture on which it was rest-
ing and went swinging down toward the
floor before I could even get a “Heads Up!”
warning out. Fortunately, no one was
directly below me or they certainly would
have been seriously injured or worse.
After everyone realized what was hap-
pening, I was able to get a rigger to come up
in the lift with me as an extra pair of hands,
and she brought a rope with her so we could
tie the cables to the lift before disturbing
them, and thus avoid any more swing-
ing cables. They must have literally gone
through boxes of e-tape on the load-in.
There wasn’t an inch of tie line anywhere.
30 LIVE SOUND INTERNATIONAL FEBRUARY 2020
The moral of the story: please be aware
that e-tape is not designed or intended
to carry a load, and it does tend to let go
when it’s heated. I’ve had that same roll
of blue e-tape in my bag for years, so you
know I don’t use a lot of it.
HEART OF THE MATTER
The items in the main, larger portion of
my backpack (Figure 3) are too numer-
ous to list, so I’ll highlight the key items:
• My own truss tools, and my socket
wrench is extendable.
• A spud wrench to align the holes in the
occasional stubborn truss sections.
• My belt tool bag is on the right, and
it fits into the backpack.
• Binoculars. What? Yep. When I’ve
needed them in the past, I really
needed them. I don’t use them a lot,
but they’ve saved my bacon more
than once. Sometimes I need to see
whether an indicator light is on after
the truss is raised to trim.
On one particular gig a few years ago,
I was the A1, sitting next to the TD at
the tech table in the back of the room.
The presenter apparently forgot to
advance the PowerPoint slides, and
I heard the TD say on the comm
system, “He’s not advancing
the slides, and I can’t tell if
he has the clicker or not.” I
wish you could have seen his
face when his A1 handed him
a pair of binoculars! (Yes, the
presenter had the clicker,
and yes, it was work-
Figure 3
ing. He began to advance the slides soon
afterward.) More:
• A USB-powered LED light for plugging
into mixing boards (it’s the curved wire
in the lower portion of the photo).
• Wire snips.
• Cable snips.
• Tin snips, for when equipment arrives
on a pallet that is secured with tin
straps. (I typically have the only pair
on site.)
• Labeling tape. I don’t label inputs on
the digital boards with tape because it
can be done during programming, but
of course, I do label inputs on analog
boards, and every cable is labeled on
both ends. If you’re wondering why,
you won’t be for much longer.
• A carpet cutter (not visible). I carry it
even though I don’t work much with
carpet. I haven’t used it in quite a
while, but it’s still in my bag.
• A 25-foot measuring tape.
• A hook that clips on to my belt (which
can be seen on the left in Figure 3).
It holds a roll of e-tape (on rare occa-
sions), a crescent wrench, and gloves
(for loading in and out).
www.ProSoundWeb.com

Figure 4
MORE TO THE STORY
The tools I most often find myself using
are in a small bag that clips to my belt
(Figure 4). It contains a laser distance
finder (“disto”), a multitool, a pair of wire
snips, a flashlight, a black marker, a red
marker, a folding utility knife, and an
electrical outlet tester.
Again, my outlet tester often the only
one on site. Here’s an example of why I
carry it: I was the A3 (if there is such a
thing) on a recent gig at which the audio
power distro was MIA (missing in action).
The A1 needed to do a line check to make
sure the front fills and foldbacks (all active
loudspeakers) were getting signal. While
we were waiting for the power distro to
show up, he wanted to plug them into
house power to get the line check done.
Seemed like a good idea to me, too.
As is my custom, I inserted my tes-
ter into the house receptacle, and I was
surprised to discover that it wasn’t
grounded. I checked several other recep-
tacles in the room and got the same
result. I was shocked (pun intended)
when I discovered that the house recep-
tacles in that ballroom at a major Orlando
convention hotel are not grounded.
I reported it to the A1, who nixed his
idea of using house power to do line
checks. He did not want any equipment
plugged into an ungrounded system, and
with good reason. There’s an old adage
www.ProSoundWeb.com
in the electrical industry: “Never be the
ground.” It could be fatal.
There’s always the question of whether
or not to loan out my tools on site. I most
certainly do not, because I know I’ll usu-
ally never see them again, regardless of
the good intentions of the borrower to
return them. If you have any doubt, try
it yourself – go ahead, loan a few tools.
Just be sure to have extras on hand to
replace them.
When someone wants to borrow a tool,
I usually ask, “Where’s yours?” You’d be
surprised how often the answer is, “I
loaned it out and never got it back.” I
just look at them with a smile, and they
know I’m not going to make the loan for
just that reason. Other times, the want-
to-be borrowers are newbies who hav-
FEBRUARY 2020
en’t yet learned the value
and necessity of bring-
ing their own tools. In
these cases, my common
response is, “I don’t loan
out my tools, but I’ll be
happy to do something
for you.”
At this point you may
be wondering about
my cable tester and cab
driver. Those kinds of
things are in the large
workbox that comes from
the equipment supplier
or AV company, along
with adapters, gender
benders, barrel connec-
tors, XLR shorties, gaff
tape, etc. However, I do
have a cable tester that comes with me
when I deploy my personal sound system
on a gig.
Here you have it. This is what I’ve
found works best for me over the years
as a local freelancer in Orlando. Interest-
ingly, no two of us have the same tools,
although there will always be the crescent
wrench and multitool in common. I sup-
pose it’s because of the difference in how
we view our world or how we approach
our work. Hopefully, it will give you some
ideas about how to be better prepared and
make life a bit easier on yourself. LSI
Carl Stewart has more than 25 years of
experience as a freelance live sound engineer
for corporate events in Orlando. Reach him
at Carl@CSproductions.info.
LIVE SOUND INTERNATIONAL 31
 Insight

CAPTURING THE MOMENT

Outlining some
techniques for successful
live recording.
by Chris Mitchell

I
n the early days of live sound reinforcement, recording
a performance was significantly more complicated than
it is today. A few bands carried separate recording gear
– extra console, multitrack recorder – but most depended on
the simple cassette recorder.
The Grateful Dead hauled a few tons of recording gear around
Europe in 1972 and recorded their best live album – the 16-track
recorder alone weighed over 1,000 pounds. Now we can capture
32 tracks, directly from our digital mixer, on an SD card the
size of a fingernail.
The needs for live recordings are as varied as the artists who
make them, from archiving rehearsals for review and practice
all the way up to recording live concert albums for release. I’ll
review a few different techniques to capture performances,
with differing levels of complexity and post show flexibility.

WORKING IT THROUGH
The most straightforward route is to simply record the main
mixing bus (pre-processing) by routing it to a 2-track recorder.
But depending on stage volume, venue size, and other key factors
beyond the engineer’s control, this board mix may not produce
satisfactory results. Instruments with loud stage volume might
not make it into the mix. Or maybe you cut a bunch of low-mids
from the vocals because of a boomy room, and as a result, the
vocals may translate as thin on the recording.
Another option is erecting a stereo pair of microphones at
front of house and recording from the perspective of the mix
engineer. While this works well to capture the performance as
it sounds in the room at that precise location, the recording can
suffer from poor acoustics and loud crowd noise.
One solution, pioneered by the Grateful Dead crew, merges
these techniques into a matrix recording. By combining the
console output with a pair of microphones at FOH and add-
ing delay to compensate for the distance to stage, Dan Healy
produced some great-sounding live recordings with the proper
balance of direct sound and audience ambiance. These were icated fans a chance to experience the music when they cannot
called “UltraMatrix” recordings and they still sound fantastic. attend – in a genre where no two concerts are ever alike – and
creating a lucrative secondary revenue stream for each show.
REFINING THE PROCESS I produce about 90 full show recordings every year and have
One of my duties as the FOH engineer for Umphrey’s McGee is refined Mr. Healy’s technique to match my mixing style. I do
to record the band’s live performances for release, providing ded- combine the console mix with audience mics, but I prefer to

32 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

use a pair of stereo condensers in an ORTF (also known as
Side-Other-Side) configuration, downstage center, facing the
audience. This eliminates the need for delaying the console
mix.
I prefer to have audience mic levels rise between songs, to
emphasize applause and cheering. I created a ducker using the
console mix as the sidechain for the audience mic compressor
and set the compressor controls to have 15 to 25 dB of gain
reduction on the audience mics when the band is playing hard.
The advantages of utilizing these techniques are simplicity and
turnaround time. Each full show recording is usually available
to the public within hours of the final note, sometimes minutes
if the internet connection is fast enough. The disadvantages
may include instrument level issues, imbalances due to stage
volume, missed mix cues, improper EQ, etc.

STEPS ALONG THE WAY

However, there are some modified techniques that allow flexibil-
ity in post-production but are faster and more streamlined than
recreating a full mix from multitracks. I didn’t know it was called
Stem recording when I did it, but in the early days of digital
recording, I hauled a new-fangled Alesis ADAT 8-track recorder
to a bunch of shows I was mixing for an Americana band.
While touring with them in the late 1990s, most analog
consoles I came across had eight group outputs in addition to
the stereo output. I was able to create a good mix for the house
using just the stereo bus, so I used the eight groups to record
three stereo and two mono groups, post fader, to be remixed
later in a controlled environment: drums and bass together on
stereo group 1 and 2, acoustic guitar on 3, banjo on 4, vocals
on 5 and 6, and FOH mics on 7 and 8.
When ready to remix, I had control over the level of these
Stems, which were already recorded with EQ, dynamics and
fader moves. So if the guitar was low in the live mix, I could
properly balance the Stem mix without having to remix the
whole show. This technique can easily be adapted to fit the
number of recording tracks that are available.
Fast forward to the present: recently I was asked to provide
Stem mixes of an Umphrey’s McGee show for a Dolby Atmos
project. I created 16 stereo Stems that included six musicians
– four who sing – a four-piece horn section, and three pairs of
audience mics. We captured the performance using the new
Sound Devices 970 recorder, printing 64 tracks of 24/48 digital
audio via (Audinate) Dante.
The data is stored on dual solid-state hard drives with mul-
tiple stages of redundancy. Those files were sent to the video and routing, combined with the use of ambient microphones
facility for remixing, and the resulting Atmos mix is amazing. placed onstage or at FOH, can result in some stellar live record-
The whole performance, from the soaring of the music to the ings that require little to no post processing. LSI
ballet of my fader moves, was captured with total immersion.
The Atmos engineer only had to concentrate on level and spatial Chris Mitchell serves as FOH engineer for Umphrey’s McGee, a
placement of those Stems, instead of recreating the mix from very popular rock band noted for experimenting with a wide range
96 raw tracks. of musical styles. His hobbies include rebuilding vintage motor-
Producing a quality recording of performances and their cycles and mixing consoles. Read more by Chris at flyingeyepro.
accompanying mixes is now easier than ever. Creative grouping wordpress.com.

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 33

 Feature
THE PATH TO CARNEGIE HALL
Shaping theatre sound for
Little Big Town.
by Gregory A. DeTogne

PHOTO CREDIT: REID LONG

ith the release of “Nightfall,” their ninth studio LP,
the country quartet Little Big Town (Jimi Westbrook,
Kimberly Schlapman, Karen Fairchild, and Phillip
Sweet) has embarked upon an ambitious 30-date theater tour
that launched in mid-January at Carnegie Hall. The object of
prolonged endeavor for generations of musicians, the legendary
New York City music hall hadn’t seen a mainstream country
artist cross its stage since Alan Jackson performed there in 2013.
“It’s not a typical country venue,” Phillip Sweet told The Boot,
an online source for country music news. “That’s part of the
appeal of playing there. As a group, we’re constantly seeking
ways we can stretch our style and find a universal sound.”
Contributing their combined skills to the cause, an audio crew

PHOTO CREDIT: JOHN CROSWELL

led by Josh Reynolds at front of house, Jason Hall at monitors,
and system engineer Rudd Lance is charged with the task of
delivering that sound each night. Long-standing veterans of
the band’s tours for several years, the trio took to the road
this time faced with the challenge of downsizing their arena
and amphitheater efforts from previous seasons. A demanding
task at any level, it was compounded by a decision to rely on
a different PA at each stop, making the best of whatever they
found along the way.
GETTING THINGS IN ORDER
“It’s definitely a collaborative process when it comes to figuring
out what a PA will do in a theater,” Reynolds notes. “Especially
when you’re not carrying your own rig. Fortunately, Rudd Lance,
our system engineer from Spectrum Sound (based in Nashville)
when we’re using our own boxes, stayed with us on this tour.
I leave him to his own devices as he tunes the system in each
room. Once he feels he has all the resonances taken care of
and things are stable, I’ll come in and line check over the top
of that, and maybe make a few tweaks. But for the most part
he gets things in order for us.”
During rehearsals at Nashville’s 1,000-seat James K. Polk
Theater in the week prior hitting the road, Reynolds and crew
modified the show’s overall volume, bringing it into a C-weighted
range of 95 to 106 dB. Known for its soaring harmonies and
mellifluous voicing, Little Big Town’s four-part vocals occupy the
largest amount of bandwidth within the mix, with everything
else being tucked around and oriented to serve them. Jazz-like
in its approach, the band swings down with delicate nuance
to 82 to 85 dB at times, then moves con brio above 100 dB at
Above, Little Big Town performing at Carnegie Hall. The show
maintains a clean stage; outside of the performers there’s not
much on it at all. Shure Axient Digital captures star vocals using
three transmitters outfitted with SM58 capsules and a fourth
with a Beta 87A. Below, left-to-right: front of house engineer
Josh Reynolds, system engineer Rudd Lance, and monitor engi-
neer Jason Hall at Reynolds’ DiGiCo SD10 in Carnegie Hall.
others. It’s this pendulum of dynamics that the crew strives to
express with transparent detail in theaters, in a fashion unlike
anything they can achieve outdoors or in bigger spaces.
“Last spring and summer we were touring with a d&b audio-
technik GSL and KSL rig,” Lance recalls. “The year before it was a
GSL rig when they first came out, and a V-Series rig before that,
so we’re quite used to going back-and-forth between large and
small platforms with d&b cabinets. Now that we’re in theaters,
however, beyond d&b we’re facing everything and anything:
NEXO, L-Acoustics, EV, JBL, Clair, you name it. The secret for
success within these environments is finding a common termi-
nology between all the bits and pieces. Once I accomplish that,
I can bring continuity to everyone’s day.”
As an aid to maintaining an uninterrupted sonic flow through-
out the tour, the crew decided early on to carry a minimal

34 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

info@americanmusicandsound.com dBTechnologies www.dbtechnologies.com
 FEATURE

amount of its own PA gear that could

be used to augment the systems they
encountered along the way as needed,
and rent some if they required more.
Right out of the gate, Firehouse Pro-
ductions (Red Hook, NY) got a call for
assistance at Carnegie Hall.
“We’re carrying four d&b SL-Series
subs and eight Y10P loudspeakers
that we added to Carnegie Hall to
handle the suite boxes, balconies, and
ground floor,” Lance explains. “We

PHOTO CREDIT: JASON HALL

used the house’s own mono cluster
for the upper part of the top balcony.
Six V-Series cabinets from Firehouse
– 8s over 12s – were groundstacked
per side. Once we dialed it all in, mar-
rying the two groundstacks with the
SL subs and front fills, and then the
The monitor position in Carnegie Hall. Most of the tour’s outboard gear resides there at
central cluster, the room breathed
every stop, with Jason Hall presiding over a collaborative blueprint of control decided
as a whole. There weren’t places any- upon prior to each show.
where that weren’t representative of
each other, everything was collectively the same.”
Moving north to the Apollo Theater on 125th Street for the
tour’s second and third shows landed the crew in front of the
familiar: A d&b V-Series rig buttressed below with B4, J, and
J-INFRA subwoofers and E8 front fills. “Hopping into a situation
like this I can pretty much go through a normal process like
I do every day,” Lance says. “Even with a few advantages, like
since the system is already flown and I don’t have to figure out
any of the angles, I can get right to verifying that everything is
in tip-top shape. Making sure, for example, that everything is
plugged-in correctly and none of the elements are blown-up.”
At the Apollo, Lance was given full access to the house’s d&b
ArrayCalc simulation software and its associated ArrayProcessing
functions. Much to his relief, all the latest firmware upgrades
were present, which isn’t always the case in the world of “PA
du jour,” a fact that sometimes forces him to plug in his own
laptop and update things himself to meet his needs, and even
downgrade them after the show is over so the system can return
to the house version of normal.
“The Apollo was friendly in terms of adapting it for our show,”
he notes. “As I said, I was able to pretty much go through my
own process and blend our own sound on top of the tunings
that were there. I’m not always that lucky, sometimes I wind up
taking the house file and morphing it into something entirely
different. It’s often easier to start from scratch.”
FROM THE STUDIO TO LIVE
Both Reynolds and Hall handle their mixing chores from behind
DiGiCo SD10 consoles and a single shared SD rack, which,
like most of the tour’s outboard processing elements, takes
up residence each night in monitor world. The duo, who both
engineered in the studio on “Nightfall,” helped infuse the record
with a vintage, ethereal sound punctuated with a starry-eyed
flourish of romanticized overtones.
“That’s the way the record was produced,” Reynolds says,
“and the band did it very intentionally. We spent a lot of time
in the studio coming up with drum and guitar sounds that fit
into this world. We brought those same sounds to the tour in
a broad, sweeping manner using a strategy built around a pair
of API Lunchboxes filled with 10 CAPI VP312-Platinum and 10
CAPI VP28 preamps. The 28s are on electric guitars and synths,
while the 312s are on drums and bass. These preamps provide
an excellent analog gain stage and harmonics, and another
great thing about them is that we can adjust their output gain
to drive our signals a little in the preamp stage before it gets
into the console. My DiGiCo is so pristinely clean it preserves
all of that. The CAPI preamps fit into the signal chain right
before the SD rack, arriving with 0 dB gain.”
Wireless occupies a dominant role in gathering input onstage,
with the four-piece backing band supporting the principal
members cutting the cord entirely with the obvious exception
of keys and drums. Star vocals out front are captured via a Shure
Axient Digital system using an AD4Q 4-channel receiver and
three handheld transmitters sporting SM58 capsules with black
grilles for Westbrook, Fairchild, and Sweet, and a black-grille,
Beta 87A-topped version for Schlapman. Straight from the
wireless system – which, like all RF components, is networked
across the stage to easily facilitate deploying new frequencies
every day – vocals travel to Avalon VT-737SP tube channel strips
to gain a “warmth” from the tube design, opto-compression,
and sweep-EQ functions of the analog units.
Returning to the backline, the guitar techs have assembled
a MIDI-distributed network that’s used to change pedalboards
for the players. The input scheme on drums starts at the bottom

36 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

 PHOTO CREDIT: JASON HALL
PHOTO CREDIT: REID LONG

The tour’s second and third shows were at NYC’s Apollo Theater,
where the crew adapted the house d&b audiotechnik V-Series
rig for its own needs using ArrayCalc and ArrayProcessing
software functions.

with a Shure 91A on kick that’s joined externally by a Solomon

LoFreq “reverse speaker” mic. Shure SM57s stand-in at snare
top with Shure KSM32s being the choice for the bottom, while
side-snare and toms are managed by beyerdynamic TG D58

PHOTO CREDIT: JASON HALL

cardioid condensers. Neumann KM84s are used for cymbals,
a Shure KSM137 for hi-hat, and for a low-fi secondary kick
drum, a Shure KSM27.

SERVING THE MUSIC

Hall’s monitor rig is all-in with in-ear monitors except for a
direct box and headphones for the drummer, with Shure PSM
1000 systems utilizing P10R+ diversity bodypack receivers being
the chosen product for everyone else. “We’ve flown side fills
in arenas before,” Hall says, “but the band really likes a clean
stage – they actively move around a lot. Our guitar cabinets
have been moved offstage and placed in isolation cabinets, we
tend to keep them cracked open a bit to avoid low frequency
build-up. The P10R+ body packs have been popular based upon
their extended stereo imaging and frequency range, as well as
the extra clarity we obtained, especially off the acoustic guitars.”
Reynolds maintains a mix philosophy in the house that builds
upon itself categorically. “I really try to hear all my inputs in
groups, in terms of how they best serve the music,” he says.
“Drums drive peak volume, they are the loudest thing in my mix
and come and go quickly, so I treat them as a single group and
process them that way. I approach guitars and keys as another
group, vocals, bass, and so forth, all as their own groups.
“I add different stereo processing via a Universal Audio UAD-2
Live Rack to get the exact color and tone I want to hear on each
group; this is where I develop my harmonics fully. Digital consoles
don’t have a ‘ceiling’ to push against like analog desks do, so I also
like to build my own layer of simulated analog bus processing to
push against a little to give everything a finished feeling.”
Following its debut, Little Big Town’s theater tour is winding
its way across the U.S. toward an early May conclusion in Denver
Above, house and monitors share the SD rack at bottom left
below the API lunchboxes; a Shure Axient Digital receiver and
PSM 1000 transmitters dominate the center rack, Avalon VT-
737SP units are housed in the third rack far right. Below, the API
lunchboxes are home for 10 CAPI VP312-Platinum and 10 CAPI
VP28 preamps, the former used on drums and bass while the
latter serve guitars and synths.
at the Paramount Theatre. At this juncture perhaps just one
question remains: What was it like for the crew to actually get
to Carnegie Hall along the way?
“To be honest it was the first time I had ever been there,”
Lance replies. “Many of us in this business are musicians, and
came to do what we’re doing now from rock bands. My story
is the same in terms of being a musician. But it differs in that I
was a cello player, not a rocker. As a result, I’ve been imagining
what it would be like to get to Carnegie Hall since I was in the
third grade. Well, I finally made it, and I was in total awe.
“We all handled it well, taking a very respectful approach. The
room’s acoustics are unparalleled, but it’s super-live, so it’s a
challenge to maintain clarity within a context that makes aural
sense. We hit a sweet spot though, and everyone was happy.” LSI
Gregory A. DeTogne is a writer and editor who has served the
pro audio industry for more than 35 years.

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 37

 Backstage Class
A look at the author’s current input/output structure for the classic rock band he works with.
ROLL WITH THE CHANGES
The evolution
of a console
showfile.
by Michael Lawrence
T
hough much of my work consists
of one-offs, I appreciate having
the opportunity of a regular
“down time” gig with a local classic rock
band. Having mixed them for years, by
this point it’s less like work and more
like hanging out with friends and family.
Reflecting on my work with the band, I
found it interesting how the band’s musi-
cal growth, gear upgrades, and develop-
ment of my own mixing skills led the
showfile to evolve and change over time.
When I first took the gig, the input
list was a simple “bar band” plot: vocal
mics all around, DI for acoustic, plus a
bass DI. In an effort to keep the levels
under control in the rehearsal space, the
38 LIVE SOUND INTERNATIONAL FEBRUARY 2020
guitar amps were rotated sideways (away
from the listeners) and then miked to
be reinforced through the rehearsal PA.
Once the band moved to in-ear mon-
itors about two years ago, everything
changed. The IEMs provided some much-
needed isolation for the band members’
hearing, but of course that isolation meant
more inputs. The input list grew to 20 to
accommodate the full drum kit, bass, three
electric guitars and one acoustic, stereo
keyboard, and vocal mics all around.
As often happens with a move to IEMs,
the band members were now accurately
hearing their guitar tones for the first
time and they weren’t happy. After some
research, trial and error, we moved the
lead and rhythm guitar rigs to load boxes
that allowed them to get the desired tube
saturation while keeping the stage silent.
The move was a great opportunity to
revamp their pedalboards, optimize the
gain structure and tonal balance, which
cleared up the input processing on the
console, leaving only high-pass filters
on each. Bringing the faders up meant
great, accurate guitar tones both in the
IEMs and in the PA.
MISSION CREEP
As I adapted to mixing IEMs from front
of house, I learned more about how to
keep the artists comfortable in the in-ear
environment. I double-patched all five of
the vocal inputs, which allowed me to use
a more neutral EQ and very little com-
pression to create a more natural vocal
response in the IEMs while still keeping
things tight out front, and I could work
freely on the vocal inputs from show to
show, room to room, and PA to PA with-
out disturbing the vocal sound on the
IEMs. Five more inputs.
After consulting some of my mix engi-
neer friends on the board mixes, I dou-
ble-patched the lead guitar input to get
some width out front, and took the oppor-
tunity to also double-patch the acoustic
guitar input. I needed a pretty aggressive
HPF and low-shelf cut to get the guitar to
fit into the mix with multiple other guitars
and keyboards, but the artist playing the
www.ProSoundWeb.com
guitar only has her own voice and acoustic
in her IEMs, so it sounded thin to her.
The double-patch allowed me to give her
a fuller acoustic sound in her ears without
getting muddy out front.
I also made some changes to the way
I was handling effects, in order to keep
a higher level of consistency in the IEM
environment. In small rooms, my drum
input faders often ended up very low,
which meant that the drum sound in the
IEMs would “dry up” from low post-fader
send levels. I started running the drum
All told, the showfile in its current
form is 33 inputs, but the flexibility cre-
ated by that configuration means I have
to adjust very little from show to show,
either in the FOH mix or in the IEMs –
for the most part, everyone plugs in and
starts playing and is happy.
While I’m never an advocate of com-
plexity for complexity’s sake, the mea-
sured and considered improvement over
time in this case has led to a situation
that gives me better results with fewer
compromises – a very good thing indeed.
LSI
Michael Lawrence is an independent front
of house engineer and system tech, and he’s
also the technical editor of various pro audio
publications. Read more from Michael and
reach him at precisionaudioservices.com.

Let there be
reverb sends pre-fader.
Although I felt like I was breaking some
cardinal rule of mixing by doing this, it

light
worked – the send levels to the ears stayed
rock steady, and I found that I was able to
achieve a nice reverberant drum sound out
front even when the inputs themselves
were quite low, by riding the return fader.
This was a great lesson for me – conven-
tions and best practices exist for a reason,
but it’s helpful to understand the underly-
ing reasons, so we can understand when
departing from them makes sense.

A BETTER RESULT
I also used a double-patched copy of the DSQD Receiver SSM Transmitter
vocal reverb return for the IEMs. This
was a little trickier – the pre-fader send
4 Ch. per half rack = 8 ch. in 1RU 2.3 Oz (65 g) with LiOn battery
trick wouldn’t work here because I use
a mute group to mute the vocal reverb
Digital and Digital Hybrid Digital Hybrid Wireless
and tap delay in between songs. If a free
effects slot had been available, I would
have dedicated a reverb to the IEM mixes, Quick, intuitive interface Sets up in seconds with IR sync
but this was the next best option.
Double patching continued through the All metal construction All metal construction
low end of the mix: the band uses a single
kick mic, so I patch that into two inputs
Analog and Dante® outputs Compatible with analog receivers
as Kick Low and Kick High, processed
with crossover filters through the Midas
PRO Series console’s onboard loudspeaker Surprisingly Competitive Surprisingly Competitive
processor. This allows me to control the
tonal balance of the kick with just fader
Check out the latest Lectrosonics wirelss systems
moves rather than changing EQs.
It also lets me to use the high end of the and raise your wireless standards.
kick for beater attack in the IEMs without
bogging down the tiny drivers with the << Scan here to learn more
sub energy, which is unneeded due to the www.lectrosonics.com or 1-800-821-1121
sub wash across the stage. I have a similar
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arrangement with the bass guitar inputs:
Made in the USA by a Bunch of Fanatics. In Europe, call +33 (0) 78558-3735
a full-range input for the FOH mix and
a version with reduced LF for the IEMs.

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 39

 Road Test

DPA MICROPHONES 2028

Evaluating
a recently
released vocal
microphone also
available as a
wireless capsule.
by Craig Leerman

I
like surprises and received a big Two views of the DPA 2028 microphone.
one when a couple of months ago,
a package was delivered with a monic Distortion is listed as <1 percent The tapered handle has a shape that fits
DPA 2028 vocal microphone for evalua- up to 139 dB, and the specs also say that the contours of the hand very well, and
tion. Based in Denmark, DPA produces dynamic range is typically 117 dB and it also made me to hold the mic correctly
some excellent mics, including a few head- output impedance 150 ohms. The wired and not wrap my hand around the head
worn units I have in my inventory. version measures 1.9 x 7.4 inches (W x (as too many vocalists do these days,
The 2028 is a condenser model designed L) and weighs 10.1 ounces. The mic ships altering the sonic signature). It’s also a
for the unique challenges of capturing (clip included) in a rugged, foam-fitted great-looking unit with an all-black finish,
live vocals, equipped with a 3-step pop zipper case that also has extra space for the grille is rugged, and overall, the mic
protection system designed to effectively stuff like external windscreens. is very solid indeed.
reduce wind and pop noises. It consists of When plugging in the mic at my test
an outer metal mesh grille, an inner foam OUT OF THE BOX bench, I quickly found that it almost
windscreen, and an additional inner fine The first thing I noticed when unpacking makes my voice sound great (which is
metal mesh pop filter that surrounds the the 2028 was how nice it felt in my hand. saying something because I have a voice
capsule.
The new capsule is designed to handle
high sound pressure levels (stated as 160 dB
max SPL before clipping). Uniform super-
cardioid directivity is intended to reduce
feedback issues, while the capsule’s shock
mount helps eliminate handling noise.
The 2028 is available in a wired version
with a black handle or in two screw-on
capsules for a variety of wireless systems.
One fits standard Shure, Lectrosonics,
Sony and additional transmitters, and the
other works with a range of Sennheiser
transmitters. It’s designed for standard
+48-volt phantom power, but the user
manual states that it will also operate at
lower supply voltages.
Stated frequency response is 20 Hz to
20 kHz and nominal sensitivity is 5 mV/ The 2028 capsule is also available in two versions for a range of wireless handheld
Pa, -46 dB (+/- 3 dB at 1 kHz). Total Har- transmitters.

40 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com


The published polar pattern and frequency response charts for the 2028.
for magazine writing – and a face for
radio). The off-axis rejection is excel-
lent, especially to the rear. While many
performers who would be using a mic at
this price point are probably on in-ear
monitors, a good number of performers
still prefer wedges, so the tight rejection
of sound from monitor (and other off-
axis sources) at the sides and rear is most
welcome. Unscrewing the top reveals the
inner mesh pop filter that can also screw
off for cleaning or replacement if it gets
damaged. Taking off that filter exposes
the cartridge.
I had a few folks at my shop check out
the mic as well, and while none are sing-
ers, they were all impressed at how nice
it sounded with their voices. I didn’t need
EQ to make their voices sound natural
either. The mic has a very even frequency
response with no major dips or bumps
over its entire range.
Satisfied that it wasn’t damaged in
transit and was in proper working order,
it was time to hit the road.
STEPS ALONG THE WAY
The first stop was a visit to a colleague’s
church to deploy the 2028 with a praise
band. We decided to try it with a female
www.ProSoundWeb.com
vocalist who sings loud and is known
for hitting some very high notes during
performances.
She sounded great, and with little to
no EQ, and she commented to me how
good it sounded in the floor wedges. For
his part, my colleague also noted the
sonic quality as well as his appreciation
for the tight off-axis rejection – there was
basically nothing but vocal signal in the
channel on a small and loud stage.
Next up was a corporate gig where we
deployed the 2028 as my VOG (Voice of
God) announce mic at front of house.
Unfortunately, we needed wireless
headworn mics for the presenters so
we couldn’t use the 2028 on stage, but
I got to say exciting things like, “Ladies
and Gentleman, please find a seat and
silence your cell phones, the program will
begin in five minutes” through the mic.
I think this was among the more pricey
VOG mics I’ve ever used, and certainly
never sounded better in the role.
A more suitable application followed
when we utilized the 2028 as I had a for a
corporate band playing a company party
at a casino ballroom. We put the mic on
the male lead vocalist; no surprise, there
was an excellent result.
FEBRUARY 2020
During sound check, he asked if it was
OK to play his harmonica into the mic, ask-
ing first because he didn’t want to inadver-
tently damage. I replied that as long as he
kept the volume under 160 dB, we were
good. (As you might guess, that resulted in
a quizzical look from him.) For this applica-
tion, sonic quality was dialed right in, and
in my role as the mix engineer for the event,
I quickly developed deep appreciation for
the mic’s off-axis rejection.
Another stop was a corporate event
where the 2028 served as the mic for the
announcer introducing the presenters
and the recipients of awards. He had a
deeply timbered bass voice and held the
mic close to his mouth, and at the con-
sole, I backed off a little bottom end and
it resulted in a great sound.
ONE MORE TIME
Finally, we returned to the church where
we started, this time to utilize the 2028
for a holiday event. It featured the same
praise band, but this time we provided
the mic to a male vocalist who has a nice
tone but doesn’t sing very loudly.
We had absolutely no trouble bringing
his level up over the energetic band, and
I mostly attribute this (again) to the off-
axis rejection. In my view, it’s this mic’s
best feature, allowing singers to stand
next to loud amps and/or wedges while
delivering almost nothing but vocal that’s
easy to place above the sound of the band.
The DPA 2028 vocal microphone is a
winner. To sum up, it offers a smooth
frequency response with little coloration
and there’s the aforementioned off-axis
rejection. On top of that, it’s rugged with
great looks, has a very good feel in the
hand, and comes with exceptional pop
and noise filtering. Anyone looking for a
premium vocal solution, particularly on
loud stages, as well as a great-sounding
and exceptionally consistent mic to have
available in a rental inventory, should
have it at the top of list. LSI
U.S. MSRP – Handheld/Wireless
Capsule: Both $699.95
Senior contributing editor Craig Leerman
is the owner of Tech Works, a production
company with offices in Reno.
LIVE SOUND INTERNATIONAL 41
 Tech Topic
GOOD TIMING
Manually compensating for
outboard gear latency.
by Michael Reed
M
odern digital audio consoles generally still support the
integration of outboard gear through insert points
or bus send/returns. Back in the analog days, insert
points were patch and play when connected to gear such as
dynamics effects or other non-time-based effects. Time-based
effects were – and still are – best used in a parallel configura-
tion, and if the mix is 100 percent wet coming out of the unit,
a small latency in the return signal caused by digital processing
should not matter that much since a reverb or delay will arrive
later than the dry signal anyway.
With digital consoles, any time we make the hop out of the
internal processing and come back in, we’re introducing a signal
that’s slightly behind the dry signal, even if the outboard piece
of gear is completely analog. This is due to the additional DA/
AD (digital to analog and analog to digital) conversion. There’s
a manual way to measure the latency of an outboard path and
I’ll present two examples here.
Remember that when two signals are combining at the same
level but with different timing in a bus or a loudspeaker, the result
will be comb filtering upon the combination. To avoid this, the
two signals must be corrected to arrive in time with each other.
Here I’ll share a procedure to compensate for outboard latency
through a digital signal processor, which is the heart of my home
studio. The technique is the same for a digital mix console in a
studio or live setting.
UPSIDES OF DSP
In the home studios of today, the music production suite can
only be a part of a multi-purpose room. Instead of a console,
it can be a big advantage to have a DSP to route and process all
inputs and outputs. Some DSPs can even take the place of an
audio interface and route straight from a computer or specific
app to the hardware. Audinate Dante is a common interface
replacement networking protocol (audio over IP or AoIP).
Mixing consoles have been the traditional unit for this role in
the past, but there’s not always space for something like that,
plus they don’t have near as precise processing as a system
DSP does. Features found on a DSP that aren’t on most digital
consoles are ultra-precise delay, all-pass filters and crossover
filters, among other things.
Fortunately, at this point in time, DSPs are very affordable,
especially if purchased used. Sites like eBay are great for this
42 LIVE SOUND INTERNATIONAL FEBRUARY 2020
Figure 1
purpose – people pull perfectly functioning units out of real
environments and put them up for sale for a fraction of the price
they were new. By a fraction, I mean as low as 5 percent of the
original cost, and they usually work perfectly well.
EXAMPLE 1
I have a Biamp Nexia CS DSP in my studio; it has 10 inputs (with
preamps) and 6 outputs. In addition to main and subwoofer
monitoring, I’ve added a path that sends my VoIP (voice over
IP) microphone through a Lexicon effects processor. This is
referred to as the “wet” path.
That then sums with the internal or “dry” path at the output
of the DSP, which goes directly into the computer through the
interface for use in desktop apps. This keeps with the tradi-
tional routing scheme of running a (mostly) reverb and delay
effect in parallel. The parallel routing enables me to bypass the
effect through the DSP interface by shutting off the wet return
signal. The unit has other effects, so I needed the wet signal
to arrive in time.
To time align something like this is simple. I sent a sine sweep
from my FFT (fast Fourier transform) measurement rig into the
mic channel, through the processor, through the outboard gear
into the processor again, and back into the analyzer. This is the
same as using an FFT in the field for system tuning except that
there’s no measurement mic involved (Figure 1).
Next I muted the wet path and ran the same sweep through
the dry channel that had a delay processing block inserted onto
it. The FFT uses an impulse response to measure round trip time
and it is accurate for this since the microphone channel is full
range with very little low-frequency content. It was as simple
as looking at the difference in round trip time and adding that
delay to the dry mic path (Figure 2).
The dry signal arrived at the output sooner since it didn’t hop
out of and into the DSP as many times. The analogy for a digital
console would be running a mic channel directly to a bus, then
to a main mix. Then running the same channel to a second bus,
www.ProSoundWeb.com
 TECH TOPIC

Figure 3

claim to fame is that it adds deepness to bass signal without

Figure 2
out to a piece of gear and back into a channel and to the main
mix. You would add the delay to the internal bus (Figure 3).
EXAMPLE 2
Let’s move along to something that’s a bit trickier, starting with
an analog unit in my studio, an Aphex 104 Aurel Exciter. Its
adding gain.
However, it does this through a type of distortion that I don’t
want when doing a mix-down, so I decided to add this to the
sub output in parallel, which makes it easy to mute its return or
leave it up for a little “ear candy.” Additionally, with the matrix
mixer in my DSP, I can record just the wet path through it if I’m
working with material enhanced by that effect.
If I were to run this effect at a live show, traditionally it would
be patched in via an insert point. Figure 4 shows the visual
of the path that the sub signal takes on its way through the
system. This path creates two additional hops through a DA
conversion process, so the wet path is a bit late compared to
the dry signal when it combines. This effect is only covering a
limited range of frequencies, and when they combine at equal
level, there’s actually a drop in combined level.
The method to measure the difference between the two paths
is the same as above. Send test signal from the analyzer into
the DSP, then through the Aphex unit return into the DSP, and
then back into the analyzer. Mute that path and send test signal
through the DSP and back into the analyzer.

Figure 4

44 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

Figure 5 Figure 6

The approach to correct this is similar to the process of

phase aligning a main and sub crossover. The impulse response
for the subwoofer frequency range (both paths in this case)
can’t be used to find the delay offset. To align both paths, we
need to look at the phase trace and match phase degree and
slope angle.
This will flatten out the combing and provide maximum
summation of the combined signal. It’s technically a type of
crossover and is called an “overlap.” The reason it’s a crossover
is because its coherent signal arriving at the same level and
Figure 7
time offset.
Figure 5 shows the frequency response of both paths. The
green trace is the unprocessed subwoofer signal and the red
trace is the same signal after passing through the Aphex 104.
Note that the Aphex path does indeed give a small boost. The
red circles are where the two signals match exactly in level.
Note that the range of interest here is about 32 Hz to 100 Hz.
Figure 6 offers the phase traces – as we can see, the Aphex
path arrives later. This is indicated by the steeper slope on the
red trace. The goal is to get the (green) dry path’s phase to match
the red as close as possible.
Figure 8
FINISHING IT UP
The starting point for me was to choose one of the two frequen-
cies where the level is exactly the same (red circles) – either 50
Hz or 92 Hz. I chose 50 Hz because kick, bass and synth have
more impact there. The degree difference in phase divided by
360 divided by the chosen frequency (50) is the formula to
get delay time in seconds. The answer times 1,000 provides us
with the time difference in milliseconds: 52/360/50 (*1000)
equals 2.88 ms.
How much time you spend on getting the alignment as
close as possible is up to you. For me, this is just an enhance-
ment I patch in when I want to really feel the room shake so
Figure 9
it doesn’t have to be extremely precise. The yellow trace in
Figure 7 provides the new phase response with the 2.88 ms The final result is a cool effect. And if you were wondering
delay on the dry path. how I confirmed that the Aphex 104 is a distortion effect unit,
Now let’s combine the levels with both paths on at the same take a look at Figure 9. LSI
time (Figure 8). Bright green is the combo. I turned down the
gain a bit on the wet path to only produce about 3 dB of sum- Michael Reed, a member of the Audio Engineering Society (AES), is
mation when they’re both on, but what’s shown is the maximum an audio engineer and entrepreneur based in southern New England,
that can be attained by phase summing. where he heads up Marathon Audio Systems.

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 45

 Sound Bytes

EDUCATION & COMMUNITY

Audio professionals
coming together in person
and online.
by Live Sound Staff

A MEET-UP IN ALBANY 2019), explaining

On a Saturday in early January, a group
of audio engineers gathered in a meeting
room at the Albany (New York) Public
Library for networking, technical discus-
sion, and of course, snacks. The event was
a free and informal gathering, open to
all interested in meeting up and “talking
shop.”
The 3-hour event, organized by LSI/
PSW technical editor Michael Lawrence,
featured technical presentations by loud-
speaker/DSP designer Sam Feine, LSI
contributor Michael Reed (ATR Tree-
house), and Lawrence (Precision Audio
Services), who kicked off the meetup with
a slideshow on the basics of single and
dual-channel FFT measurement.
This was followed by a presentation
from Reed, based on his recent article
“Loudspeakers On Stands” (LSI November
the effects of loud-
speaker height and
t h row d is ta nce Michael Reed addressing height for loudspeakers on stands in
ratio with a com- Albany.
bination of predic-
tions and real-world measurement data.
Feine then followed up with a demonstra-
tion of how to use a moving-microphone
spatial averaging technique to measure
the magnitude response of a loudspeaker
and then design a custom FIR filter for
response correction. Lawrence concluded
the afternoon with a talk about SPL
measurement.
“This meet-up was a fantastic opportu-
nity to connect with both seasoned pros
and some of the most keen beginners
I’ve met yet,” Feine says. “I look forward
to the next one.”
“I’m thrilled that we were able to get
together, share some knowledge, and
shake some hands,” adds Lawrence. “It’s
always cool to see what my colleagues
are working on, and to be able to talk
with folks about these topics. This was an
off-the-cuff thing with no real budget or
infrastructure behind it – we just decided
to get together and do something fun,
which I’d like to see happen more often,
and I hope we can do it again.”
Reed notes: “I admire the drive of
all the participants. All of them were
already working in the field and each
one expressed a desire to ‘improve their
results’ by getting more education. That
attitude is what makes someone above
average.”

Courses in Albany were presented by (left to right) Sam Feine,

Sam Fein exploring a spatial averaging technique with the class. Michael Reed and Michael Lawrence.

46 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

 PLEASE RECYCLE
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RESPONSIBLY

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 SOUND BYTES
Attendees traveled from various
regions around the northeast, including
New York City, Maine, and Pennsylva-
nia, and ran the gamut from students
to seasoned pros. According to attendee
Hannah Goodine, a third-year student
of the Live Sound Technology program
at Husson University’s NESCom, “As a
student, it was an awesome opportunity
to network and learn from professionals.
Hearing different strategies and work-
flows was really valuable.”
Plans are underway for additional
meetup events throughout 2020, fea-
turing LSI/PSW contributors joined by
other industry professionals. Stay tuned
to ProSoundWeb.com for more.
TAKING TO THE WEB
Michelle Pettinato, currently on tour
as front of house engineer with Elvis
Costello, has an enviable resume that
has reached far and wide during her
multi-decade career in pro audio. And
now she’s got something new up her
sleeve: a new program to assist aspiring
audio pros quench their thirst for more
audio knowledge.
The program, called Mixing Music
Live (MML), is an online video course
that provides a basic introduction to live
sound and the fundamentals of mixing.
Pettinato is about to launch another ses-
sion of MML, and she recently talked
with Samantha Potter from our team to
tell us more about it.
Samantha Potter: What motivated you
to start this program?
48 LIVE SOUND INTERNATIONAL FEBRUARY 2020
Michelle Pettinato
Michelle Pettinato: I want to help those
interested in live sound and mixing by
giving them the tools they need to get out
there and start doing it. It can be difficult
to know where to start when you don’t
know what you don’t know. The most
common thing I hear from aspiring sound
engineers is how overwhelmed they are
with how much there is to know. They’re
not sure where to begin. Many are going
about it backwards by trying to learn all
of the gear and keep up with every new
piece of equipment or plugin out there
when what they actually need to learn are
the underlying principles and techniques.
Having a solid foundation of these princi-
ples leads to knowing how the system works
together, being able to learn new equipment
faster, being able to mix on any console, how
to prevent and eliminate feedback, how to
get better quality sounds and mixes, and
having more confidence in mixing.
SP: What experience should folks have
before signing up?
MP: No experience is necessary. The
course is a basic entry-level intro to live
sound and mixing. It’s presented from
the perspective of what you will be deal-
ing with as an aspiring sound engineer
with little or no experience, but with the
goal of preparing you for what it takes to
do the job at a professional level.
The students range from those with no
experience to people who’ve been working
in live sound for several years. Some are
high school students who want to learn how
to mix sound for their school play, and I’ve
even got a musician who wants to learn how
to get better sound for his band. A few have
been trying to learn sound on their own,
mixing local bands or at their church, and
some are working for sound companies.
SP: What can students expect to learn
during this program?
MP: Mixing Music Live teaches the basic
principles of live sound and mixing, start-
ing with the two most important – signal
flow and gain structure – which are the
basis of everything we do. There’s also
an emphasis on the components of the
average console. We teach how to get sig-
nal to the console, and properly through
it, in order to achieve the best results.
Another focus is on how all of the parts
of the sound system work together, how
to choose the right microphone, mic place-
ment, how to use EQ, dynamics, effects,
how to run a sound check, build a mix, trou-
bleshooting and more. I present it from the
perspective of how a real-world gig works;
there’s not a lot of fluff or advanced topics.
It provides the nuts and bolts of what’s
needed to get out there and start doing it.
My goal is to get people comfortable
with systems and being behind the console
so they can mix great sound and enjoy
themselves while doing it. The course can
be done at their own pace and there’s no
time limit to complete it. We also have a
private Facebook group for those taking
the course, which is a great place to reach
out if someone’s having trouble with any
of the topics. There’s also an app, so the
course can be accessed at any time.
SP: It says on your website you’ve got
a free e-book – what’s it about and how
can I get a copy?
MP: The book is titled “7 Things Every
Live Sound Engineer Should Know,” and
it covers some of the principles and ideas
I’ve found to be most important for live
sound and mixing. I explain what they
are as well as why they’re important. All
of the topics in the book are covered in
depth in the course.
Find out more, take the course and download
the book at mixingmusiclive.com. LSI
www.ProSoundWeb.com
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 Show Report

FLYING HIGH AT NAMM 2020

A record number of systems
at the Loudspeaker
Showcase in Anaheim.
by Live Sound Staff, photos by
Steve Milner

T
he second annual Loudspeaker Showcase at the 2020
NAMM Show in January at the Anaheim Convention
Center Arena attracted more than 5,000 attendees
who stopped by to check out both larger- and smaller-format
professional loudspeaker systems in round-robin as well as
individual sessions over the course of a 3-day run.
The event, based on the popular Loudspeaker Demo format
launched by LSI almost a decade ago at a worship trade show,
delivers a highly unique side-by-side listening opportunity. This
year a record 14 premium manufacturers participated, with the
two types of sessions presenting a whopping 28 total systems
for the attendees to sample. Manufacturers and systems at the
event included:

Alcons Audio (LR24 line array and LR7 compact line array)
AXIOM (AX12C and AX6C line source modules driven by
SW2100A sub)
BASSBOSS (MFLA powered line array and DV12-MKII powered
loudspeaker)
Crest Audio (VERSARRAY PRO active line array and RBN 112
powered loudspeaker)
dBTechnologies (VIO C12 active line source and INGENIA
IGT2 active loudspeaker)
Electro-Voice (X2-212/120 line array and MFX-15MC coaxial
loudspeaker)
FBT (MUSE 210LA active line array and HORIZON VHA com-
pact line array)
Martin Audio (WPS optimized line array and XP12 powered
loudspeaker)
Montarbo (WIND PRO 215 loudspeaker and WIND PRO 208A
loudspeaker)
RCF (HDL 50-A 4K active line array and HDM 45-A powered
loudspeaker)
Sound Barrier (CORE 102 line array and NX8 passive
loudspeaker)
TW Audio (VERA20 line array and ELLA compact line array)
Verity Audio (IWAC220P active line array and AC12.3P active
column)
Void Acoustics (Arcline 8 active line array and Air Vantage
point source loudspeaker)
“We’re really pleased to have partnered with NAMM again in
2020 to provide so many show attendees with a beneficial and
truly unique experiential engagement,” states Kevin McPherson,
president of the pro audio division of EH Media, which publishes
Live Sound International and ProSoundWeb. “It’s also a major
step forward for loudspeaker manufacturers whose products
must be heard to be truly appreciated.
“Attendance was outstanding throughout the show, with
attendees also treated to the execution of a highly complex
setup within a challenging listening environment,” he contin-
ues. “We’re really looking forward to presenting the Showcase
at future NAMM shows.”
HOW IT WORKED
This year’s festivities were once again hosted by emcee Bernie
Broderick of Truth In Audio, who brought more than 30 years
of work with professional loudspeakers to his presentation of

50 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

each system to the audience, utilizing a Lectrosonics Digital
Wireless system that delivered flawless performance through-
out the event despite the exceptionally busy RF environment.
At the front of house position in the arena, mix/control engineer
extraordinaire Nicholas Radina utilized an Allen & Heath dLive
mix system distributing signal via Dante networking to two DX
I/O boxes to manage and deliver audio to each system. A high-end
lighting package deployed by 4Wall Entertainment (nationwide)
spotlighted each individual system as it was played, while two
large-format LCD video screens in opposite corners, also deployed
and managed by 4Wall, supplied attendees with key information.
Prior to each round-robin session, all systems were fed pink
noise, with the designated uniform sound pressure level set and
confirmed. This process, managed by Rational Acoustics, was
based upon data provided by the new Smaart SPL standalone
measurement and monitoring software program making its
debut at the show. Output was captured via a centrally located
measurement microphone in the listening area, and it also
supplied constant SPL readings to attendees via a large video
monitor during all demo sessions (in both A and C weighting).

MAKING SOME NOISE

Following standard practice established at the initial demo,
systems were fed identical music tracks during each larger and
smaller system round-robin session.
The participating manufacturers both nominated and selected
(via an online voting system) the music tracks that were played.
The playlist offered a diverse selection of styles, with each session
featuring tracks spotlighting female and male vocals, as well as
Above, Nicholas Radina on the dLive control surface, with Smaart
dynamic large-ensemble selections. Many of these tracks are utilized
SPL providing readings of the levels. Below, emcee Bernie Brod-
by manufacturers in their own system demonstrations in the field. erick (center) and LSI/PSW president Kevin McPherson (right)
Listeners could evaluate what they were hearing while also with one of the winners of a D’Angelico guitar at the Showcase.
observing each system’s scale, components and other import-
ant details, in addition to getting further technical details and clients with a valuable listening experience with a wide variety
pricing information from qualified representatives of each of systems.“
company participating in the demo. Lucky attendees were awarded prizes via drawings following
“This year’s Showcase at the NAMM show proved to be a each demo session, including guitars from D’Angelico, NAMM
wonderful opportunity for Alcons Audio to showcase our unique TEC Award-winning Cable Wrangler cable management sets,
pro-ribbon systems,” says Dave Rahn, North America sales an Electro-Voice ND86 vocal microphone and more. The next
manager for Alcons, which unveiled the new LR24 mid-size Loudspeaker Showcase is slated for the 2021 NAMM Show at
line array. “The format of the event works very well to allow the Arena in Anaheim on January 21-24. LSI

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 51

 World Stage

PHOTO CREDIT: ANDREA KLERIDES/MICHAEL PRIEST PHOTOGRAPHY

92nd Street Y’s Kaufmann Concert Hall, home to a new L-Acoustics
L-ISA technology design, joined by a look at the L-ISA Controller
screen positioned above the hall’s Yamaha Rivage PM10 console.

RARIFIED (MOVING) AIR

A look at recent — and ongoing —
a system comprising five arrays of Kiva
II, with six enclosures per hang, across

pro audio deployments.

by Live Sound Staff
BRINGING AN IMMERSIVE
ENVIRONMENT TO A CLASSIC
VENUE
L-Acoustics’ L-ISA immersive hyperreal
technology was recently selected to solve
acoustical issues and bring the audio of
the 905-seat Kaufmann Concert Hall in
New York City into the modern era. The
venue, housed in the 92nd Street Y on
Lexington Avenue, hosts panel discus-
sions with leaders from a range of fields,
combined with a rotating program of
musical theater, cinema, rock and acous-
tic acts, and special events.
“The main challenge for this concert
hall is that the interior is largely made of
wood, and it’s very reverberant,” explains
Kaufmann Concert Hall technical director
Sean Fogarty. “It was built in the 1920s
and meant for classical music, so when
we did amplified music, it could easily
overwhelm the space.”
The first U.S. installation of L-ISA in
a performing arts arts center, it was a
true collaborative effort. The system was
sold through local rental and integra-
tion firm See Factor, and installed by the
Kaufmann Concert Hall’s IATSE Local
One technical staff. L-Acoustics appli-
cation engineer Jesse Stevens designed
the width of the stage, and four SB15m
subwoofers. This frontal system helps
solve the key issue of localization.
For the immersive aspect, 20 X8 loud-
speakers – four X8 coaxial loudspeakers
per side and four in the rear for balcony
and orchestra – allow the Kaufmann staff
to use the entire venue to place sounds
for cinema, or enhance the space using
the L -ISA integrated Room Engine.
Further, 5XT underbalcony fills, six X4i
coaxial front fills on the lip of the stage,
and two Syva colinear loudspeakers as
proscenium near fills complete the sys-
tem, which is powered by LA4X amplified
controllers fed via AVB from the front of
house infrastructure. Finally, there are
two L-ISA Processors (main and backup)
located at front of house, managed by
the L-ISA Controller software running
on a Mac Mini.

52 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

A FESTIVAL BENEFITS FROM
AN EFFECTIVE MIX/CONTROL
STRATEGY

The most recent edition of Echo Park

Rising, a sprawling festival in Los Ange-
les recently named “Best Music Festi-
val” by LA Weekly, saw the event’s main
Liberty stage outfitted with house and
monitor systems implemented and tuned
by Brandon Operchuck and Kyle Gish
of Huntington Beach, CA-based Audio
Geer that were headed by Allen & Heath
dLive S5000 and C1500 control surfaces,
respectively, working with DM48 and
CDM32 MixRacks.
“Our consoles had to be user friendly,”
Operchuck says. “That way we could
accommodate the less-experienced guest
engineers taking the helm at the begin- Echo Park Rising main stage FOH engineer Leticia Castaneda at the helm of an Allen &
ning of the day. Conversely, we needed Heath dLive S5000 surface in Echo Park.
the horsepower and 96 kHz sonic qual-
ity demanded of the riders submitted by
the engineers serving the headliners at
night. The Allen & Heath dLive systems
gave us both and couldn’t have worked
out better.”
Beyond the guest engineers that
rotated through both days of the festi-
val, the majority of the acts had their
house mixes orchestrated by lead engi-
neer Leticia Castaneda. During the few
times she had a break, either Operchuck
or Zambrano took over. “She was a real
trooper mixing an eclectic and nearly

PHOTO CREDIT: JULIAN HUKE PHOTOGRAPHY

nonstop stream of acts over long days,”
Operchuck says of Castaneda. “The rest
of us can only wish we had that kind of
stamina.”

FILLING MULTIPLE ROLES IN

THE OPEN AIR IN GERMANY

The eighth annual Open Air Festival Elec-

tro Magnetic in Völklingen, Germany had
almost 60 DJs and live acts performing
for two nights on different floors at a
unique location, the UNESCO World Her-
itage Völklinger Ironworks, with sound
reinforcement headed by RCF loudspeak-
ers deployed throughout the facility.
German event company TRIACS GmbH
was responsible for the main floor and
implemented RCF HDL 50-A line arrays.
An RCF HDL 50-A array standing out above the fray at the Open Air Festival Electro Mag-
netic in Germany.
Specifically, the system incorporated dual plied near fill, with TT 1-A loudspeakers
flown arrays, each with 10 HDL 50-A covering the VIP zone. And, TT 052-A
modules joined by 16 SUB 9007 subwoof- loudspeakers in combination with in-ear
ers in an arc configuration with cardioid monitors delivered monitoring for the
properties. Eight HDL 30-A modules sup- system control rooms (light, laser, video).

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 53

 WORLD STAGE
PLUGGING IN (AND MORE)
IN SUPPORT OF “AMERICAN
UTOPIA”
Front of house engineer Peter Keppler
is using tools from Waves Audio for
the Broadway production of “American
Utopia,” the new theatrical concert from
David Byrne, the former frontman for
the Talking Heads and solo artist. Byrne
also fronts this production and shares
the spotlight with 11 musical artists
in the ensemble, with Keppler talking
about the challenges and solutions of the
show.
“My latest setup for this production is
a DiGiCo SD10 with Waves MultiRack,
Waves SoundGrid Extreme Server and
a Mac mini with a Dell touch screen,” he
notes. “My go-to Waves plugins are the
Waves PSE (Primary Source Expander),
which I use on all 12 vocal channels to
help control drum and percussion spill
from our six drummers on stage. I place
the Waves F6 Floating-Band Dynamic EQ
on all the vocal channels as well, directly
after the PSE in the rack, primarily as a
dynamic EQ and on one of the electric
guitars for dynamic tone-shaping.
“I have so much drum and percussion
information on a relatively small stage
with 12 headset vocal mics, and every-
body is wireless and constantly on the
move. It could be a nightmare for spill
into the vocal mics,” he continues. “PSE
Front of house engineer Peter Keppler mixing a performance
of “American Utopia” by David Byrne at Broadway’s Hudson
Theatre.
54 LIVE SOUND INTERNATIONAL FEBRUARY 2020
really helps with that, especially using
the filter on the side-chain allowing
me to isolate the vocal frequency range
and keep any high-frequency spill from
cymbals and percussion and the low
frequencies of the drums from trigger-
ing the soft gate on vocals. The F6 as
a dynamic EQ has become a go-to for
almost every live vocal I mix: it gives
me so much more usable gain on the
voices, especially when people are sing-
ing quietly, and it does a beautiful job
of compressing only the spots in a per-
former’s vocal range or peaks in the mic’s
response that really need it.”
CAPTURING A WORLD TOUR
WIRELESSLY – AND PLUGGED
IN
L aurie Quigley, who’s ser ved as a
sound engineer for more than 40 years
for a variety of artists (Mötley Crüe,
Whitesnake, Ozzy Osbourne, Bon Jovi,
Cinderella, Tesla, Aerosmith, KISS), is
deploying a variety of Audio-Technica
microphones and wireless systems on
the current Here to Love World Tour by
Lenny Kravitz. First up is a third-gen-
eration A-T 5000 Series frequency-ag-
ile UHF wireless system paired with an
ATW-C6100 hypercardioid dynamic mic
capsule for Kravitz’s lead vocal, previously
handled with a second-generation 5000
Series system.
Mix engineer Laurie Quigley (right) with Audio-Technica artist
relations manager Roxanne Ricks.
Among Quigley’s other “go-to” mics is
the Audio-Technica AT4050 multi-pat-
tern condenser. “I first saw and heard an
AT4050 around 25 years ago,” he notes.
“I was sold instantly and replaced all my
guitar mics with 4050s shortly after (as
soon as I could get enough of them). I
have compared different mics over the
years but have yet to find a better sound-
ing or more reliable microphone. I believe
there are close to 30 AT4050s on stage –
16 guitar channels, three bass channels,
six choir channels, two Leslie bottom
channels and spares.
“I also use all AE6100s [hypercardioid
dynamic handhelds] on vocals, PRO 23s
[cardioid dynamic instrument] on the
toms, a AE2500 [dual-element cardioid
instrument] inside the kick, a ATM23 on
the top end of the Leslies, and AT4047/
SVs on my overheads and cymbals.”
MAKING EVEN BIGGER
SOUND IN BIG D
To better serve the audiences of the
many concert acts coming through
AT&T Stadium – the 100,000-capacity
domed facility that’s the home of the
Dallas Cowboys – the venue’s already
large-scale sound reinforcement system
has been expanded to bolster reinforce-
ment to the upper level seating. When
the venue opened in 2009, it was out-
fitted with the largest EV system in a
www.ProSoundWeb.com

Some of the additional Electro-Voice XLC arrays implemented at AT&T Stadium in Dallas.
permanent installation, including over
240 line array loudspeakers from the
X-Line family.
For the recent expansion, the Cowboys’
audio team worked with system program-
mer Richard Bratcher, along with original
DIGITAL
EDITION
Read Anytime, Anywhere!
SUBSCRIBE NOW
www.LiveSoundInt.com
www.ProSoundWeb.com
design and installation partners includ-
ing Kevin Day of WJHW, head engineer
Demetrius Palavos and COO Ted Leamy of
Pro Media Audio Video (based in Denver),
and the Electro-Voice engineering team.
Together, they determined that 14 EV
FEBRUARY 2020
XLCi127DVX (compact 3-way) modules
would provide the desired improvement.
Specifically, the upgrade includes two
XLC arrays on each side of the stadium,
plus the addition of one more loud-
speaker element to the 14 existing arrays
serving the 400 level, for a total of 54
added boxes. They’re driven by 20 addi-
tional Electro-Voice TG series amplifiers,
each equipped with RCM-26 remote con-
trol DSP modules. One additional NetMax
N8000 digital matrix controller was also
added. The IRIS-Net platform’s proven
stability and scalability was a key factor
in the expansion.
“We’re always working to improve
the fan experience for all events, not
just on game days,” says Gary French,
audio engineer in charge for the Dallas
Cowboys. “Most concert tours augment
their traveling systems with our EV arrays
as the delay system for the upper levels.
We decided a little extra coverage would
be a big upgrade for those events.” LSI
LIVE SOUND INTERNATIONAL 55
 Gig School
A NEW DIRECTION
DMI-KLANG & 3D
monitoring capability.
by Becky Pell
I
n the previous issue (LSI January 2020), I addressed
recent developments in the world of monitor mixing
and what I think the future holds. I promised you an
exciting new development that was almost due for release, and
after its unveiling at the NAMM Show in January, I’m excited to
share the news of KLANG and DiGiCo’s new baby, DMI-KLANG.
This neat little DMI card sits in the back of DiGiCo SD-Range
consoles and facilitates 3D mixing capability, integrating KLANG
technology fully into the mix workflow so that you can use
snapshots and controls exactly as usual. The 3D placement
of inputs is determined on the console surface or via the app,
and then you just mix as normal, the only difference being a
significant upgrade in the listening experience.
 I used the forerunner to this development, KLANG Fabrik,
with great success on “The War of the Worlds” tour last year
to recreate an immersive live mix of Jeff Wayne’s complex
orchestral prog-rock masterpiece. Fabrik offers a scalable
mix:input ratio, with a maximum of 56 inputs. While one
Fabrik unit can generate up to 16 mixes, the caveat is that
for every mix you add, you have to sacrifice some inputs to
redistribute the DSP.
In my case, I used KLANG for Jeff’s mix only. I was running
at 96 kHz, so I was able to take 55 inputs and generate one mix
with one Fabrik unit (had I run at 48 kHz, I could have had 56
inputs and three mixes). The number of inputs that can be used
with Fabrik goes down as the mix count goes up – for four mixes
there are 48 inputs at 48 kHz (or 33 inputs at 96 kHz), and to
run 16 mixes, there are 12 inputs at 48 kHz (or 10 at 96 kHz).
The new technology allows aux sends to be Klang enabled.
56 LIVE SOUND INTERNATIONAL FEBRUARY 2020
Inputs can be placed in the 3D domain directly from the DiGiCo
desk using the azimuth, elevation and width controls.
The new DMI-KLANG card dramatically increases this capa-
bility. Using FPGA technology, it facilitates 16 3D IEM mixes,
of 64 inputs each, at 96 kHz. Currently DMI-KLANG works
directly with DiGiCo consoles equipped with DMI slots – for
other SD-Range consoles it works via a DiGiCo Orange Box.
Fabrik already offered impressively low processing latency
of 2.6 milliseconds, but DMI-KLANG all but removes latency
altogether, with a figure of just 0.25 ms. (I challenge any human
to be able to detect that!)
I’m taking DMI-KLANG out on a stadium pop tour this sum-
mer and can’t wait to see the look on the artists’ faces when they
hear their IEM world open up with 3D mixing. With this much
capability, I can even give the backline techs a 3D experience.
Stereo, you were great when the only other option was mono, but
it’s time to sit down now – the future of IEM mixing is here. 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, Anastacia and Take That. Read
more from Becky at SoundGirls.org and on ProSoundWeb.
The DMI-KLANG card that plugs into the back of DiGiCo SD-Range
consoles.
www.ProSoundWeb.com
Real World Gear
PLENTY OF PUNCH
An overview of medium-format line
arrays and a look at recent models.
by Live Sound Staff
T
he characteristics that qualify a
line array as medium format, as
opposed to small or large format,
is somewhat arbitrary. For this overview,
we’ve based the selection on the size of
the largest driver in the array, considering
those with 8-inch to 10-inch cones to be
medium format.
In comparison to enclosures with
12-inch or 15-inch LF drivers, smaller
enclosures generally allow wider splay
angles within the array elements, which
can be helpful for applications where
long lines of loudspeakers aren’t feasible
because of weight or sightline restrictions.
Further, they’re designed to be flown
L-Acoustics KARA II
l-acoustics.com
Configuration: 2-way
Dispersion (h x v): Panflex technology
facilitates 70 or 110 degrees symmetric,
or 90 degrees asymmetric on either side;
vertical array dependent
LF: 2 x 8-inch cone drivers in bass-reflex
tuned enclosure
HF: 1 x 3-inch compression driver cou-
pled to DOSC waveguide
Frequency Response: 55 Hz – 20 kHz
Power: LA4X/LA8/LA12X amplified controllers
Rigging: 4-point system; angle incre-
ments of 0, 1, 2, 3, 4, 5, 7.5, and 10 degrees
Size (h x w x d): 9.9 x 28.9 x 19 inches
Weight: 57 pounds
Companion Sub: SB18 (single 18-inch)
www.ProSoundWeb.com
and taken down quickly, often in “blocks”
of individual modules, and to be flexibly
adjustable to different splay angles – and
many can also be groundstacked. This flex-
ibility can be particularly useful in venues
where arrays need to be adjusted regularly
to accommodate different types of acts.
Within the medium-format category,
there’s a lot of variety. Among the repre-
sented brands and models in the listings
that follow, the horizontal coverage angle
varies from 80 degrees to 150 degrees
from a single array column, with most
ranging between 100 to 120 degrees. Some
manufacturers also offer cabinets with the
same “footprint” with differing horizon-
tal coverage, allowing the user to better
d&b audiotechnik KSL
dbaudio.com
Configuration: 3-way
Dispersion (h x v): 80 or 120 degrees;
vertical is array dependant
LF: 2 x 10-inch (front) and 2 x 8-inch
(side) cones
MF: 1 x 8-inch cone
HF: 2 x 1.4-inch-exit drivers on a wave
shaping device
Frequency Response: 54 Hz – 18 kHz
Power: d&b D80 amplifier
Rigging: 0 to 10 degrees in 1-degree
increments
Size (h x w x d): 13 x 39.4 x 23.5 inches
Weight: 128 pounds
Companion Subs: SL-SUB/SL-GSUB (both
triple 21-inch, cardioid)
FEBRUARY 2020
customize coverage for a particular venue.
Enclosure width varies from a bit over 23
inches to more than 30 inches, and weight
for each cabinet ranges from slightly more
than 30 pounds to over 100 pounds. Many
are self-powered, and others have dedicated
external processing and amplification.
Most of these systems use one to two
cone drivers to produce the lowest fre-
quencies, and sometimes will roll off the
upper frequencies of one LF driver while
allowing the other to cover the midrange.
HF is covered by a compression driver, or
occasionally a ribbon driver, with pattern
control via a horn or waveguide with a
narrow vertical coverage angle. Thus a
3-way system is effectively created, with
the coupling of the two cones effectively
creating a larger LF radiating surface. (This
is sometimes called a “2.5-way.”)
The following Real World Gear over-
view of recent models covers a variety
of designs based around 8- to 10-inch LF
components. It’s not all inclusive but is
meant as a solid starting point for further
homework. Enjoy the tour.
RCF HDL 30-A
rcf.it
Configuration: 2-way
Dispersion (h x v): 100 x 15 degrees
LF: 2 x 10-inch neodymium cone drivers
HF: 1 x 1.4-inch titanium compression
driver (4-inch) voice coil, on custom 4
PATH waveguide
Frequency Response: 50 Hz – 20 kHz
Power: Onboard class D amplifier, DSP
controlled input section with presets,
proprietary FIRPHASE technology
Rigging: Integral hardware with adjust-
able splay angles
Size (h x w x d): 11.5 x 27.7 x 19.8 inches
Weight: 55.1 pounds
Companion Sub: HDL-38AS (single 18-inch)
LIVE SOUND INTERNATIONAL 57
 REAL WORLD GEAR
NEXO GEO M10
usa.yamaha.com
Configuration: 2-way
Dispersion (h x v): 80/120 degrees x 12.5
or 25 degrees
LF: 1 x 10-inch cone driver
HF: 1 x 1.4-inch (throat) compression driv-
er on a BEA/FEA optimized Wavesource
Frequency Response: 59 Hz – 20 kHz
Power: NEXO amplification (NXAmp
TDcontroller)
Rigging: Proprietary AutoRig system;
choice of 9 angles between boxes
Size (h x w x d): 11.3 x 20.9 x 14 inches
Weight: 47 pounds
Companion Sub: MSUB15 (single 15-inch)
VUE Audiotechnik al-8
vueaudio.com
Configuration: 3-way
Dispersion (h x v): 90 x 10 degrees
LF: 2 x 8-inch neodymium cone drivers
MF: 4 x 4-inch Kevlar neodymium cone
drivers
HF: 2 x 1-inch-exit Truextent beryllium
diaphragm compression drivers
Frequency Response: 75 Hz – 18 kHz (+/-
2.5 dB)
Power: External VUE V6 Systems Engine
Rigging: Integrated hardware, angles
selectable in 1-degree increments
Size (h x w x d): 10.2 x 29.4 x 17.5 inches
Weight: 76.6 pounds
Companion Sub: al-8-sb (single 18-inch)
58 LIVE SOUND INTERNATIONAL FEBRUARY 2020
QSC WideLine WL2102w
qsc.com
Configuration: 3-way
Dispersion: (h x v): 140 degrees x array
dependent
LF: 1 x 10-inch cone woofer
MF: 1 x 10-inch cone woofer
HF: 1 x 1.4-inch-exit (3-inch titanium dia-
phragm) neodymium compression driver
Frequency Response: 55 Hz – 18 kHz
Power: LF bi-amp power handling –
600/1,400 watts; LF tri-amp power han-
dling – 400/700 watts; HF power handling
– 80/300 watts
Size (h x w x d): 10.8 x 27.4 x 20.7 inches
Weight: 70 pounds
Companion subs: GP118-sw (single 18-
inch), and WL218-sw and GP218-sw (both
dual 18-inch)
Clair Brothers C8-M
clairbrothers.com
Configuration: 3-way
Dispersion (h x v): 120 x 10 degrees, addi-
tional horizontal options
LF: 2 x 8-inch cone drivers
MF: 1 x 3.5-inch cone driver
HF: 1 x 1.75-inch (voice coil) compression
driver
Frequency Response: 60 Hz – 20 kHz
Power: Bi-amplified
Rigging: Integral hardware with adjust-
able splay angles
Size (h x w x d): 9.2 x 28.9 x 23.9 inches
Weight: 62 pounds
Companion Sub: CS118, iS118, iS218
dBTechnologies VIO L208
dbtechnologies.com
Configuration: 2-way
Dispersion (h x v): 100 x 10 degrees
LF: 2 x 8-inch neo cone drivers
HF: 1 x 1.4-inch neo compression driver
(all drivers located behind panel that
acts as a phase-plug and a HF horn)
Frequency Response: 85 Hz – 18.1 kHz
Power: Onboard Digipro G3 class D am-
plifier, DSP with linear-phase FIR filters
and presets
Rigging: 3-point system; back-central
rigging strand to set splay angles
Size (h x w x d): 10.2 x 26 x 15.3 inches
Weight: 39.9 pounds
Companion Sub: VIO S118 R (single-18),
VIO S218 (dual 18-inch)
Martin Audio WPS
martin-audio.com
Configuration: 3-way
Dispersion: (h x v): 100/120 degrees hori-
zontal (-6 dB/-10 dB), 10 degrees vertical
LF: 2 x 8-inch Hybrid slot horn loaded
MF: 4 x 4-inch neodymium magnet, horn
loaded
HF: 4 x 1-inch neodymium magnet, horn
loaded
Frequency Response: 70 Hz – 18 kHz
Power: iKON iK42 amplifier
Rigging: Integral 3-point flying systems
for up to 24 enclosures (touring) and 16
enclosures (installation)
Size (h x w x d): 10.3 x 25.6 x 16.8 inches
Weight: 60 pounds
Companion sub: SX Series
www.ProSoundWeb.com
 RWG Spotlight Listing
Adamson S10 | adamsonsystems.com TECHNOLOGY FOCUS: Controlled Summation Technology
The S10 is a 2-way, full- brings the LF drivers as close together as possible while
range line array enclosure symmetrically outwardly splaying them, which increases
ideal for a wide range of usable frequency range while decreasing summation at the
mid-size portable and crossover point, reducing interference. The LF drivers are also
install applications. It’s recessed behind the exit of the HF sound chamber so as to
loaded with two 10-inch not limit their size and shape. Delay aligns the LF and HF.
ND10-LM Kevlar neodymi-
OF NOTE: The S10 (and companion S119 sub) are designed
um cone drivers joined by
to be driven by the E-Rack unified rack solution, available in
an NH4TA2 1.5-inch-exit 8-channel and 12-channel configurations with Lab.gruppen
HF compression driver. PLM 12K44 amplifiers (with Lake processing) and supplied
A wave shaping sound with a 20-port Ethernet switch to route dual-redundant Dante
chamber produces a slightly curved wavefront with a nom- and control signal. Blueprint AV software is included.
inal dispersion pattern of 110 by 10 degrees (h
x v). The chamber exhibits increased vertical
KEY SPECIFICATIONS:
response with minimal sacrifice of HF energy in Configuration: 2-way
the far field. Patent-pending Controlled Sum- Dispersion (h x v): 110 x 10 degrees
mation Technology further eliminates low-mid LF: 2 x 10-inch Kevlar neodymium
lobing. The S10 offers a maximum peak SPL cone drivers
of 141.3 dB, quite notable for such a compact HF: 1 x 1.5-inch-exit compression
enclosure. driver
The cabinet is made of marine grade birch Frequency Response: 60 Hz – 18 kHz
Power: Designed for use with E-Rack
plywood as well as aircraft grade steel and
Rigging: Proprietary SlideLock rigging system allows angles to be set
aluminum. The rigging system incorporates Ad- prior to lifting
amson’s proprietary Slidelock rigging technol- Size (h x w x d): 10.4 x 29 x 20.7 inches | Weight: 60 pounds
ogy for exceptionally easy setup and strike. An Companion Sub: S119 (single 19-inch)
install specific version (S10i) is also available.

K-array KH2 Renkus-Heinz VARIA VA101 TW AUDiO VERA20

k-array.com renkus-heinz.com twaudio.de

Configuration: 2-way Configuration: 2-way

Configuration: 2-way
Dispersion (h x v): 110 x 10 degrees (pre-
set dependent)
LF: 2 x 8-inch neodymium cone drivers
HF: 2 x 1.4-inch neodymium compression
drivers
Frequency Response: 70 Hz – 19 kHz
Power: Onboard class D amplification;
DSP controlled, digital steering
Rigging: Integrated hardware, adjustable
Size (h x w x d): 9.8 x 25.3 x 8.3 inches
Weight: 62 pounds
Companion Sub: KS5 (dual 21-inch)
Dispersion (h x v): 90 (also 60 & 120) x 7.5
(also 15 & 22.5) degrees
LF: 1 x 10-inch cone driver
HF: 2 x 1-inch neodymium drivers on pro-
prietary Tuned Conic Diverter waveguide
Frequency Response: 60 Hz – 20 kHz
Power: Class D biamp (500 watts LF, 250
watts HF) with integrated RHAON net-
working; passive version also available
Rigging: Articulated hardware provides
adjustment from 0 to 7.5 degrees
Size (h x w x d): 13 x 23.7 x 15 inches
Weight: 64 pounds
Companion Sub: VA15S (15-inch)
Dispersion (h x v): 80 or 120 x 12 degrees
LF: 2 x 10-inch cone drivers
HF: 1 x 1.4-inch compression driver on
newly developed waveguide
Frequency Response: 63 Hz – 18 kHz
Power: 1,000/2,000 watts (program/peak)
Rigging: Integral hardware with logarith-
mic scaling of the intermediate angles,
enables angles smaller than one degree
Size (h x w x d): 11.2 x 23.6 x 15.7 inches
Weight: 53 pounds
Companion Subs: Several, including VERA
S32 (cardioid), BSX (dual 21-inch)

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 59

 REAL WORLD GEAR
Alcons Audio LR18
alconsaudio.com
Configuration: 3-way
Dispersion (h x v): 90 x 10 degrees
LF: 2 x AMB8 8-inch cone drivers, vented
MF: 1 x 6.5-inch cone driver coaxially
mounted behind HF driver
HF: 1 x RBN702rs 7-inch pro-ribbon
transducer
Frequency Response: 70 Hz – 20 kHz
Power: Sentinel amplified controller
(Sentinel10 recommended)
Rigging: Angle-setting on cabinets with-
out lifting the array
Size (h x w x d): 8.9 x 31.1 x 17.2 inches
Weight: 61.7 pounds
Companion Sub: BC543 (triple 18-inch),
BQ211 (single 21-inch)
FBT MUSE 210LA
fbt.it
Configuration: 2-way
Dispersion (h x v): 90 degrees x 10 de-
grees
LF: 2 x 10-inch cones, bass-reflex
HF: 2 x 1-inch-throat B&C drivers on
waveguide
Frequency Response: 55 Hz – 20 kHz
Power: Onboard class D, switch mode;
onboard DSP
Rigging: 0 to 10 degrees in 2-degree
steps
Size (h x w x d): 11.6 x 25.6 x 16.7 inches
Weight: 83.7 pounds
Companion Sub: MUSE 118FSA (single
18-inch)
60 LIVE SOUND INTERNATIONAL
DAS Audio AERO 8A
dasaudio.com
Configuration: 2-way
Dispersion (h x v): 90 degrees; vertical
array dependent
LF: 1 x 8MN 8-inch neodymium cone driver
HF: 1 x M-60N 3-inch neodymium com-
pression driver on BPS-191 waveguide-
horn assembly
Frequency Response: 95 Hz – 20 kHz
Power: Onboard 3-channel Class D ampli-
fier, new DASaim processing technology
Rigging: Captive rigging, splay angles
range from 0 to 10 degrees in 1-degree
increments
Size (h x w x d): 9.6 x 20.7 x 14 inches
Weight: 39.6 pounds
Companion Sub: Several LX single and
dual-18 models
Meyer Sound LEOPARD
meyersound.com
Configuration: 2-way
LF: 2 x 9-inch cone drivers, Hybrid slot
horn loaded
HF: 1 x 3-inch compression driver cou-
pled to constant directivity horn through
patented REM manifold
Frequency Response: 55 Hz – 18 kHz
Power: Self-powered (class D), Galileo
loudspeaker management
Rigging: Captive GuideALinks provide
with splay angles from 0.5 to 15 degrees
Size (h x w x d): 11.1 x 26.9 x 21.6 inches
Weight: 75 pounds
Companion Sub: 900-LFC (1 x 18-inch)
FEBRUARY 2020
Coda Audio ViRAY
codaaudio.com
Configuration: 3-way
Dispersion (h x v): 120, 80 or 100 degrees
(60+40 or 40+60); vertical is array depen-
dent, (0-10 degrees)
LF: 2 x 8-inch cone drivers
MF: 1 x 8-inch coaxial mid/high planar
wave driver
HF: 1 x 1.75-inch-exit compression driver
(all drivers are loaded to a ViCOUPLER)
Frequency Response: 55 Hz – 22 kHz
Power: LINUS RACK provide amplification,
DSP and network control
Rigging: Integral rigging, 0 to 10 degrees
Size (h x w x d): 9.5 x 26.5 x 14.2 inches
Weight: 56.2 pounds
Companion Sub: SCV-F (omni and car-
dioid)
PreSonus WorxAudio V8
commercial.presonus.com
Configuration: 2-way
Dispersion (h x v): 120 x 10 degrees
LF: 2 x 8-inch neodymium cones
HF: 1 x 3-inch voice coil titanium driver
Frequency Response: 65 Hz – 18 kHz
Power: PXD Series amplifier platform
recommended
Rigging Angles: TrueAim Tour rigging
adjustable in 1-degree increments
Size (h x w x d): 10.5 x 28 x 18 inches
Weight: 108 pounds
Companion Sub: TrueLine TL118SS &
TL218SS (single and dual 18-inch, respec-
tively)
www.ProSoundWeb.com
 RWG Spotlight Listing
Electro-Voice XLD281 | electrovoice.com TECHNOLOGY FOCUS: The XCS312 subwoofer module can
The XLD281 is a 3-way design be directly arrayed above or below XLD281 full-range
using CCT (Coverage Con- systems. LAPS2 modeling software quickly provides array
trol Technology) to control configurations and rigging information.
horizontal coverage to 200
Hz. It uses an 8-inch neo- OF NOTE: The XLVC family consists of two full-range
systems with dual woofers, two full-range systems with
dymium LF transducer, an
single woofers and a subwoofer system. All are available
8-inch neodymium LF/MB with a choice of 120- or 90-degree horizontal dispersion.
transducer, and two neodym-
ium 2-inch voice
coil compression
KEY SPECIFICATIONS:
drivers combin-
ing through dual Configuration: 3-way
hydra plane wave generators into a 120 x 10-degree Dispersion (h x v): 120 degrees x 10
waveguide. degrees (90-degree horizontal also
CCT utilizes both 8-inch transducers to provide available)
maximum low-frequency output and operating LF: 1 x 8-inch neodymium cone driver
bandwidth while controlling horizontal beam width LF/MF: 1 x 8-inch neodymium cone driver
to 200 Hz by using DSP. The XLD281 can be used in HF: 2 x 2-inch (voice coil) compression drivers
tri-amp mode or in bi-amp using a sophisticated Frequency Response: 75 Hz – 18 kHz
internal passive network. Power: LF/MF power handling – each 200 watts continuous/800
Designed to deploy in arrays of four or more watts peak; HF power handling – 80 watts continuous/320 watts
elements, the XLD281 delivers full bandwidth audio peak; biamp – 800 watts peak
with precise, predictable coverage control. Integrat- Rigging: Fully captive aluminum, 1-degree increments
ed rigging with hinge points located correctly be- Size (h x w x d): 9.9 x 28.6 x 14.5 inches | Weight: 48 pounds
tween array elements is simple to use and quickly
Companion Sub: XCS312 (triple 12-inch)
provides uncompromised line array performance.

Void Acoustics Arcline 8 Bose Professional ShowMatch LD Systems VA 8

voidacoustics.com pro.Bose.com ld-systems.com

Configuration: 3-way Configuration: 2-Way

Dispersion: (h x v): 100 degrees horizon-
tal x 12 degrees vertical
LF: 2 x 8-inch, horn loaded
MF: 2 x 8-inch with phase devices
HF: 2 x 1.4-inch on optimized waveguide
Frequency Response: 90 Hz – 20 kHz (3
enclosures)
Power: LF – 500 watts; MF/HF – 500 watts
(both AES)
Rigging: Integral system provides angle
increments of 1, 2, 3, 4, 5, 6, 7, 8, 9 and
10 degrees, with stowage positions for
transport
Size (h x w x d): 11.2 x 34.7 x 18.5 inches
Weight: 86 pounds
Companion sub: Arcline 212 (dual 12-
inch)
Dispersion (h x v): 55, 70, 100, 120 degrees
(changeable) x choice of 5, 10 or 20 degrees
LF: 2 x 8-inch neodymium driver
HF: 4 x EMB2S neodymium compression
drivers
Frequency Response: 59 Hz – 17 kHz
Power: LF power handling – 600 watts
continuous/2,400 watts peak; HF power
handling – 125 watts continuous/500
watts peak
Rigging: 3-point integrated quick-pin
rigging, adjustable from 0 to 5 degrees
on SM5 module, fixed on SM10 and 20.
Size (h x w x d): 11.1 x 31.2 x 18.3 inches
Weight: 65.5 pounds
Companion Sub: ShowMatch SMS118
(single 18-inch)
Configuration: 2-way
Dispersion (h x v): 100 x 10 degrees
LF: 2 x 8-inch neodymium woofers
HF: 2 x 1.35-inch voice coil neodymium
compression drivers on waveguide
Frequency Response: 70 Hz – 19 kHz
Maximum SPL: 120 dB
Power: 500/150 watts (LF/HF, both RMS)
Rigging: Points can be set between 0 and
6 degrees in 1-degree increments
Size (h x w x d): 9.7 x 29.1 x 18.4
Weight: 60.6 pounds
Companion Sub: V218B (dual 18-inch),
V215B (dual 15-inch)

www.ProSoundWeb.com FEBRUARY 2020 LIVE SOUND INTERNATIONAL 61

 REAL WORLD GEAR RWG Spotlight Listing
Verity Audio IWAC220P | verityaudio.fr TECHNOLOGY FOCUS: Each drive unit has fully
The IWAC220P is a full-range, independent DSP control for added ability to optimize
truly linear array system. Each each loudspeaker and array; DSP control is via the Verity
cabinet is loaded with dual 10- V-NET USB network management system.
inch woofers and dual-1-inch-
exit, horn-loaded compression OF NOTE: Innovative hardware allows for presetting
drivers. The result of careful splay angles while the array is on the ground, reducing
set-up time. An optional transport wheel board accom-
mechanical design and driver
modates four cabinets further improving setup efficiency
positioning has minimized the and adding physical protection during transport.
need to use electronic
correction of group delay
for phase correction, yielding the company’s newest gen- KEY SPECIFICATIONS:
eration of high-resolution audio. Configuration: 2-way
The plug-in amplifier module mounted on the rear
Dispersion (h x v): 120 degrees;
of the cabinet facilitates quick repair or replacement vertical is array dependent
even when hanging in an array. Each of the drivers has
LF: 2 x 10-inch cone drivers
a separate DSP and amplifier (2 x 250 watts and 2 x 800
HF: 2 x 1.75-inch voice coil com-
watts, both RMS), allowing precise control of interaction
pression drivers
between drivers.
Frequency Response: 80 Hz – 18 kHz
The IWAC220P’s companion subwoofer is the SUB136TP,
Power: Onboard custom 3-channel class D amplifier, DSP,
active dual 18-inch design with built-in DSP and very low
V-Net network control
distortion. Each cabinet carries a 2 x 1,200-watt ampli-
Rigging: Integral hardware allows setting angles on ground
fier. The compact front baffle allows the cabinets to be
Size (h x w x d): 11.2 x 29.2 x 19.9 inches
stacked horizontally, vertically, and reversed to form a
low-frequency directional array. Companion Sub: SUB136TP (dual 18-inch)

JBL Professional VTX A8 Fulcrum Acoustic FL283 EAW Anna

jblpro.com fulcrumacoustic.com eaw.com

Configuration: 3-way Configuration: 2-way Configuration: 3-way

Dispersion (h x v): 110 degrees horizontal,
vertical array dependent
LF: 2 x JBL 258J 8-inch neodymium cones,
proprietary Differential Drive | MF: 4 x JBL
2163H 3-inch neodymium midrange driv-
ers | HF: 2 x JBL 2423K 2-inch neodymium
compression drivers working with com-
bined phasing plug and waveguide
Frequency Response: 49 Hz – 19 kHz
Power: Crown I-Tech HD (all models), I-Tech
4x3500HD; 2 channels, bi-amp (LF/MHF)
Rigging: Integral with angle increments of
0.25, 0.5, 1, 1.5, 2, 2.5, 3, 4, 6, 8 and 10 degrees
Size (h x w x d): 8.9 x 29.9 x 14.7 inches
Weight: 65 pounds
Companion Sub: Several VTX models,
including VTX B18 (single 18-inch) and
VTX G28 (dual 18-inch)
Dispersion (h x v): 90 degrees; vertical
array dependent (20-degree max splay)
LF: 2 x 8-inch cone drivers, horn-loaded
HF: 3 x 1.4-inch compression drivers
Frequency Response: 54 Hz – 18.6 kHz
Power: Configured for full-range passive
operation at 16 ohms; up to 8 units can
be driven from a single amplifier channel
Rigging: Adjustable from 4 to 20 degrees
in 2-degree increments; 0- and 2-degree
splays with optional extended rear link
bar
Size (h x w x d): 12.8 x 23.1 x 19.3 inches
Weight: 57 pounds
Companion Sub: FLS115 (single 15-inch)
Dispersion (h x v): 100 degrees x Adaptive
LF: 2 x 10-inch cone drivers (proprietary
Offset Aperture loading)
MF: 4 x 5-inch cone drivers (on pro-
prietary Radial Phase Plugs and CSA
apertures)
HF: 8 x 1-inch-exit compression drivers
on proprietary horn
Frequency Response: 45 Hz – 18 kHz
Power: Self-powered, onboard DSP
Rigging: Integral rigging hangs straight, ac-
commodates up to 18 modules in an array
Size (h x w x d): 11.3 x 40 x 23.6 inches
Weight: 135 pounds
Companion Sub: Otto (omni, cardioid or
hypercardioid)

62 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

Sound Barrier CORE 82A
soundbarrier.com
Configuration: 2-way
Dispersion: (h x v): 100 degrees horizon-
tal x 10 degrees vertical
LF: 2 x 8-inch neodymium cones
HF: 1 x 1.4-inch (3-inch voice coil) neo-
dymium/titanium compression driver on
a proprietary horn
Frequency Response: 70 Hz – 19 kHz
Power: Onboard 2-channel class D ampli-
fier with DSP, interfaces with NUCLEUS FIR
management software; passive version
also available
Rigging: Integral system provides angle
increments ranging from 0 to 8 degrees
Size (h x w x d): 12 x 30 x 18 inches
Weight: 62.2 pounds
Companion sub: CORE 8218SA (single 18-
inch, active and passive versions available)
Outline Butterfly C.D.H. 483
outlinearray.com
Configuration: 3-way
Dispersion (h x v): 90 degrees x 7.5
degrees
LF: 2 x 8-inch neodymium cones, band-
pass loaded
MF: 2 x 8-inch cones, horn loaded
HF: 1 x 3-inch-exit neodymium drivers on
Double Parabolic Reflective Waveguide
Frequency Response: 110 Hz – 18 kHz
Power: 800/120 watts (LF & MF/HF, con-
tinuous RMS)
Rigging: - 0 to 7.5 degrees, 0.125-degree
increments | Weight: 75 pounds
Size (h x w x d): 9.4 x 29.6 x 23.6 inches
Companion Sub: C.D.L. 1815 (cardioid)
www.ProSoundWeb.com
Ramsdell Pro Audio LA-10-2
ramsdellproaudio.com
Configuration: 2-way
Dispersion (h x v): Option of 120, 90 or 60
x 10 degrees
LF: 1 x 10-inch neodymium cone driver,
vented
HF: 1 x 1.75-inch voice coil neodymium
compression driver
Frequency response: 65 Hz – 18 kHz
Rigging: Integrated hardware, 0 to 10
degrees in 2 degree increments
Power: Active and passive versions avail-
able; optional bi-amp
Size (h x w x d): 15.9 x 21.7 x 12 inches
Weight: 29 pounds
Companion Sub: LA12-S (single 12-inch)
Turbosound TFA-600HW
turbosound.com
Configuration: 3-way
Dispersion (h x v): 100 x 16 degrees
LF: 2 x 10-inch cone drivers, horn-loaded
MF: 1 x 6.5-inch cone driver on Polyhorn
device
HF: 1 x 1-inch compression driver on
Dendritic device
Frequency Response: 90 Hz – 18 kHz
Power: Triamp/biamp modes
Rigging: Vertical and horizontal flying
systems integrated into cabinet
Size (h x w x d): 12 x 28 x 22 inches
Weight: 93.5 pounds
Companion Sub: TFA-600B/L (both single
18-inch)
FEBRUARY 2020
ISP Technologies HDL 2208
isptechnologies.com
Configuration: 2-way
Dispersion (h x v): 100 x 10 degrees
LF/MF: 2 x 8-inch neodymium cone
drivers
HF: 1 x 2.6-inch compression driver
Frequency Response: 68 Hz – 16 kHz
Power: Onboard 3-channel DCAT amplifi-
er (850 watts RMS total)
Rigging: Integrated hardware, adjust-
able from 1 to 10 degrees in 1-degree
increments
Size (h x w x d): 9.1 x 24 x 19 inches
Weight: 62 pounds
Companion Sub: HDL118 (18-inch)
EM Acoustics HALO-C
emacoustics.co.uk
Configuration: 2-way
Dispersion (h x v): 95 degrees x vertical
dependent on array configuration
LF: 1 x 8-inch neodymium cone driver
HF: 1 x 7.8-inch AMT high-frequency drive
unit on waveguide
Frequency Response: 75 Hz – 20 kHz
Power: 325/650 watts (RMS/program);
EM Acoustics DQ10 or DQ20 amplifiers or
AQ10 power amplifier in conjunction with
DSC48 system controller recommended
Rigging: Four-point integral, tested to 24
elements at 10:1 safety factor; splay angles
of 0, 0.5, 1, 1.5 and 2 to 15 degrees in 1-de-
gree increments | Weight: 37.4 pounds
Size (h x w x d): 8.5 x 19.4 x 15.7 inches
Companion Subs: HALO-CS (single 15-inch)
LIVE SOUND INTERNATIONAL 63
 Back Page

THE WONDERS OF FEEDBACK

Sometimes it
can be a very
good thing.
by Craig Leerman

L
ike most married couples, my
wife Kelly and I don’t always
agree on every subject, but when
it comes to feedback we both absolutely
agree that it’s a good thing.
What? Yes, you read that correctly – I
said feedback is good.
Understand that I’m not talking about a
1K squeal that erupts from the PA just as
the vocalist starts to sing a big ballad and
decides to bend over the monitor wedge
and get closer to the fans. Rather, I’m refer-
ring to the process of gathering information
to better yourself and your work.
Kelly is a human resources professional
who uses feedback daily to analyze work-
place communication and performance.
This information is shared and helps
employees learn and grow in their jobs,
in addition to shaping and focusing the
business practices of the company.
Most of us who work in audio are not
businesspeople, but tech folks. Over the
years, we’ve learned to do our jobs well, but
sometimes are hesitant to ask others for
input on how we’re doing because we might
not like the answers. However, just as with
business, getting feedback on our audio
work can help us figure out what is working
and what might need improvement.
We all receive unsolicited feedback
at gigs. Sometimes it’s just a simple
“sounded good” thrown at you from con-
certgoers as they walk past front of house
after a show. Other times it’s the “I can’t
hear the (insert instrument/band mem-
ber here)” or “it’s too loud” comments
from patrons as you’re frantically trying
to figure out what happened between
sound check and the start of the show.
Let’s return to the example of the peo-
ple who say “sounded good” at the end of
the gig. Do you just smile and say thanks?
I do, but then I also ask where they were
sitting. Sometimes I also ask them about
levels – too much, too little, just right?
This usually provides me with some use-
ful feedback from unbiased people, and
most folks are more than happy to give
you their opinion when asked.
How about the “it’s too loud” peo-
ple? Do you just assume that grandma
shouldn’t have sat so close to the PA or
do you actually try to find out more?
I’ve been surprised to learn that it’s
often not the volume that’s the issue,
but something else that was amiss with
our output/coverage. Maybe the point/
complaint is valid, or maybe not, but
either way it’s helpful to have additional
information.
And yes, unsolicited feedback often
comes at busy times, but if possible, try
to follow up later. The value of this infor-
mation often outweighs the 30 seconds
or so it takes to ask a question and listen
to the response.
Co-workers and employees can also be
a great source of feedback. It’s important
to foster an atmosphere of trust and com-
munication where peers and staff are free
to share their input – quite often, they
also will offer viable solutions. After all,
these folks want events to be a success
as well. And if they don’t volunteer infor-
mation, simply ask.
Clients are usually not shy in provid-
ing feedback (especially if they don’t
like something), but many are never
requested to do so. So again, ask. I find
that it not only gives me some good
insight about what they thought of the
event, but also lets them know that their
opinion means something to me, and that
I want to improve so I can better serve
them. After all, the goal is a happy and
repeat client, isn’t it?
Remember, when it comes to feed-
back, squeals are bad, but information
is good! LSI
Senior contributing editor Craig Leerman
is the owner of Tech Works, a production
company with offices in Reno.

64 LIVE SOUND INTERNATIONAL FEBRUARY 2020 www.ProSoundWeb.com

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IMPULSIVE
BEHAVIOUR

To properly reproduce an audio signal, the time domain is crucial.

Lightness and rigidity make all the difference.

At Adamson, we build with materials and techniques that deliver

unparalleled sonic performance. Consistently.

Once you’ve heard it, nothing else sounds the same.