THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS FEBRUARY 2018 | PROSOUNDWEB.

COM

RF/WIRELESS STRATEGIES IN
BORN FOR THIS WORKING WITH ENG/EFP CREWS
INSIDE

PURSUING USEFUL LOUDSPEAKER

Catching up with noted engineer SPECS, INCLUDING MAX SPL
Ken “Pooch” Van Druten THE LATEST DIRECTION IN THE
QUEST FOR A SEMI-SILENT STAGE
 PERFORMANCE ART

SYVA COLINEAR SOURCE

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elegant design. 142 dB. 35 meters of throw. 140° horizontal coverage. Down to 35 Hz. Syva gives you peerless power and
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The Sound of Speed

ALLEN&HEATH
W W W. A L L E N - H E A T H . C O M
131 dB max SPL
 In This Issue FEBRUARY 2018 | VOL. 27, NO. 2
FEATURES
COVER STORY
16 BORN FOR THIS Catching up with noted engineer
Ken “Pooch” Van Druten. BY KEVIN YOUNG

26 THEN & NOW The history of the Monterey Jazz Festi-

val as it turns 60 years young. BY GARY PARKS

33 HALLMARK CONSISTENCY Numerous challenges

conquered in recent applications. BY LIVE SOUND STAFF

EQUIPMENT
8 LOADING DOCK New subwoofers, software/firmware,
mixers, interfaces and more. 16
44 FIRST LOOK Detailing a new line array/subwoofer
combo from dBTechnologies. BY LIVE SOUND STAFF

46 SPOTLIGHT Delving further into inverted stack car-

dioid subwoofer configurations. BY MERLIJN VAN VEEN

52 ROAD TEST Evaluating a new powered loudspeaker

and companion subwoofer from Electro-Voice.
BY CRAIG LEERMAN

54 REAL WORLD GEAR Medium-format line array

parameters and a review of current models. BY LIVE
SOUND STAFF
46 54
DEPARTMENTS
14 PERSPECTIVE Reflections on the changing paradigm
for live engineers. BY ALES STEFANCIC 52
22 FRONT LINES RF/wireless strategies when working
with (and around) ENG/EFP crews. BY IKE ZIMBEL

30 BACKSTAGE CLASS Success with choirs and other

large vocal ensembles. BY CRAIG LEERMAN

36 SOUND ADVICE The latest direction in the quest for

a semi-silent stage. BY MIKE SOKOL

40 TECH TOPIC Suggesting a useful set of specifica-

tions for commercial loudspeakers. BY CHRISTOPHER
GRIMSHAW

50 ON LOCATION Utilizing new array technology in ser-

vice of a very special event. BY LIVE SOUND STAFF Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 27 No. 2, is published monthly
by EH Publishing, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico

IN EVERY ISSUE
subscriptions are $60 per year. For all other countries subscriptions are $140 per year, airmail. All
subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send all
subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham, MA
01701 USA. POSTMASTER: send address changes to Live Sound International, PO Box 989, Framing-
6 FROM THE EDITOR’S DESK ham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing offices. Repro-
duction of this magazine in whole or part without written permission of the publisher is prohibited.
62 NEWSBYTES Live Sound International® is a registered trademark of EH Publishing Inc. All rights reserved. 2018
64 BACK PAGE EH Publishing. Check us out on the web at http://www.prosoundweb.com.

4 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com

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From the Editor’s Desk
LET’S ALL WELCOME Ales Stefancic, a veteran audio profes-
sional based in Slovenia, who steps up this issue with his first
contribution as an author, an interesting column offering his
take on changes he’s seen in his role and workflow as a live mix
engineer. What Ales lays out is quite interesting when given a bit
of consideration, and it’s something I’ve also heard mentioned
recently by at least a couple of other
mix engineers.
More good news: Christopher Grim-
shaw is back with a new piece. In July
of last year, Chris captured attention
with “Spec Wars,” a well-considered
look into the maximum SPL speci-
fication for loudspeakers. Now he’s
returned to take that discussion fur-
ther and to suggest a useful set of
specifications.
Elsewhere in the issue, Mike Sokol delivers the latest install-
ment in his popular “semi-silent stage” series, this time focusing
on drums and drummers, which as he notes is “the 800-pound
gorilla on the stage.”
Also be sure not to miss Kevin Young’s profile of mix engineer
Ken “Pooch” Van Druten, who’s known as both a top professional
as well as someone who’s very generous in sharing his time and
expertise. In addition, Gary Parks treats us to a perspective on
the audio technology at the Monterey Jazz Festival.
We’re always glad to have Ike Zimbel aboard to provide sage
counsel on the world of RF and wireless, and this time he offers
strategies for successfully working with ENG/EFP crews. Mean-
while, on the Back Page, we’re kicking off a new feature where
you’re invited to submit questions to our own Jonah Altrove,
who pledges to provide answers.
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: Mix
engineer Ken “Pooch” Van
Druten in his world at the
mix position on a tour
by Justin Bieber, working
with a DiGiCo console and
surrounded by screens.
(Photo by Chase Usry)
FEBRUARY 2018 | VOL. 27, 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
CHURCH SOUND EDITOR Mike Sessler
msessler@livesoundint.com
TECHNICAL CONSULTANT Pat Brown, pbrown@synaudcon.com
ART DIRECTOR Katie Stockham, kstockham@ehpub.com
CONTRIBUTORS: Merlijn van Veen | Mike Sokol
Ales Stefancic | Kevin Young | Ike Zimbel | Gary Parks
Christopher Grimshaw | 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 Guy Caiola, gcaiola@ehpub.com
ASSOCIATE PUBLISHER Jeffrey Turner
jturner@livesoundint.com | 415.455.8301 | Fax: 801.640.1731
ASSOCIATE PUBLISHER ONLINE Mark Shemet
mshemet@prosoundweb.com | 603.748.4067 | Fax: 603.532.5855
CREATIVE SERVICES DIRECTOR Manuela Rosengard
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AD PRODUCTION MANAGER Jason Litchfield
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awinitzer@ehpub.com | 508.663.1500 x478
CLIENT SERVICES MANAGER Jeffrey Miller
jmiller@ehpub.com | 508.663.1500 x253
Circulation and Customer Service inquiries should be made to:
Live Sound Customer Service
EH PUBLISHING
Phone: 877.814.2551
(Outside the U.S.: 508.663.1500 x294)
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EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSES
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ProSoundWeb
 Loading Dock
QSC KS112
A compact powered
cardioid subwoofer
loaded with a 12-
inch cone driver in
a 6th-order band-
pass birch cabinet.
The second model
in the KS subwoofer
series, it includes
onboard DSP providing variable crossover, delay,
and savable/recallable scenes for commonly-used
applications, while advanced thermal and excur-
sion processing further optimize performance.
Two M20 threaded receptacles are designed to
supply wobble-free connections to threaded
loudspeaker poles in either vertical or horizontal
deployment (pole not included). Low-noise casters
are included, and a locking security cover and
padded transport cover are available as options.
qsc.com
Radial
MIX 2:1
A mixer that
passively sums
two audio
channels down
to one, enabling
convenient
summing of the
stereo outputs of a console, recording interface,
or portable playback device down to mono, or to
mix any two signals together and balance their
relative input levels. Both 1/4-inch TRS and XLR
inputs are available, with ground lift switches
to help eliminate buzz and hum from ground
loops. Each input can be individually engaged or
disengaged, allowing for auditioning either signal
before summing both together. A trim control is
also included on each input. Both level controls
can be completely bypassed, summing inputs 1
and 2 equally and thereby preventing accidental
or unwanted level adjustments. The MIX 2:1 has
a 180-degree flip on input 2 to help solve issues
with frequency cancellation due to the inputs be-
ing out of phase. After both signals are passively
summed together, they feed a single XLR output
that can be connected to a powered loudspeaker,
or the input of a console or recording interface.
radialeng.com
8 LIVE SOUND INTERNATIONAL FEBRUARY 2018
PRODUCTS FRESH OFF THE TRUCK
Waves Audio STG-1608 & STG-2412
SoundGrid-compatible stage
boxes with I/O counts of 16×8
and 24×12. They also carry dig-
itally controlled preamps, AD/
DA converters and SoundGrid
connectivity for real-time plugin
processing and monitoring. The
built-in SoundGrid card quickly
interfaces with the Waves eMotion LV1 live mixer or any other hardware or
software in a SoundGrid network. Users can connect a single Ethernet cable
to record, mix and monitor live and in the studio. waves.com
Celestion TFX Range
Two small-format coaxial loudspeaker drivers
(models TFX0512 and TFX0615) with a Celes-
tion ferrite motor driving the low-frequency
element. For high-frequency reproduction,
they are outfitted with a high-sensitivity,
0.75-inch/19 mm (TFX0512) or 1-inch/25 mm
(TFX0615) neodymium magnet element with
a silk diaphragm. With neodymium having a
stronger magnetic force than ferrite, it permits the
HF element to be built with a much smaller magnet assembly than would
be the case if ferrite were used. The resulting compact size of the HF unit
enables it to be positioned inside the LF driver’s voice coil, at the exact point
where the acoustic centers of both sources are “coincident.” The design
fosters well-matched directivity and time alignment of the LF and HF signal,
delivering higher signal coherence for a more natural sounding reproduction.
celestion.com
dBTechnologies VIO L208
A 2-way active line array incor-
porating dual 8-inch neodymium
woofers and a 1.4-inch neodym-
ium compression driver driven
by a class D amplifier rated to
deliver 900 watts (RMS). All of
the transducers feed an “all-in-
one” panel that acts as both a phase plug and a high-frequency horn, with
the waveguide behind this panel contributing to the creation of a cylindrical
wavefront that optimizes HF performance. This is further optimized by lin-
ear-phase FIR (Finite Impulse Response) filtering in the DSP that brings add-
ed linearity to phase response. The DSP also provides presets for maximum
acoustic customization and tailoring. The VIO L208 can act as a stand-alone
system in addition to serving as a compatible down fill for VIO L210 (10-inch)
arrays. And as with the L210, the L208’s wooden enclosure comes equipped
with a built-in rigging system. The companion VIO S118 R sub houses a single
18-inch cone driver (with 4-inch voice coil) in a bass reflex configuration,
driven by a class D amplifier (1,600 watts RMS) working closely with DSP.
dbtech.com, americanmusicandsound.com
www.ProSoundWeb.com

Avid VENUE | On-Stage iOS
An app for the company’s VENUE | S6L mix system
offering monitor engineers the ability to remotely
control any mix from any location. It also allows
up to 16 performers to take control of their indi-
vidual monitor mixes using the interface on an
iPad, iPhone or iPod. In addition to the On-Stage
app, VENUE Software also includes several new
features and enhancements, including access
to sends as well as access to members of a
mix quickly with a new sends on faders button.
Engineers can now also maintain the aux, group,
matrix, or VCA master fader position when spilling
its members for better efficiency, and enjoy better
visibility into VCA members in meters view. On-
Stage is iOS 10- and 11-compatible, and is avail-
able for download from the App Store. avid.com
Allen & Heath GLD v1.6
The latest firmware update for the company’s
GLD digital mixers includes the Dimension Chorus
FX unit,
inspired by
a classic
chorus
based on
bucket-brigade
technology. It offers
varying degrees of densi-
ty from subtle special effects
through to heavier modulation. Also
included are ProFactory microphone presets, cre-
ated in collaboration with Shure, Sennheiser and
Audio-Technica, that are are designed to provide
a fast-track starting point when working with a
variety of widely used mics. Other enhancements
include a post-fade option for the automatic mic
mixer and a 50 Hz noise on/off switch for the
Space Echo FX unit. The update can be download-
ed from the company website. allen-heath.com,
americanmusicandsound.com
www.ProSoundWeb.com
Yamaha DXS12mkII & DXS15mkII
Next-generation portable
powered subwoofers
housed in proprietary
bandpass cabinets and
outfitted with class D
amplification stated to
deliver 1,020 watts of
peak power. Maximum
SPL is specified as 134
dB and 135 dB, respec-
tively, with response
down to 42 Hz and 40 Hz (again, respectively). A cardioid mode is provided for
applications requiring tighter dispersion control. The XLR-thru outputs have a
high-pass filtered option, meaning that all crossover work is done within the
subwoofer. As a result, connected full-range powered loudspeakers (such as
the Yamaha DXR or DBR Series) can devote their full output power to ampli-
fying only those frequencies that the DXSmkII subs are not. Both models now
also have an M20 threaded socket in addition to the standard 1-3/8 inch (35
mm) non-threaded socket. yamahaproaudio.com
Audix AVB-Enabled M3
A tri-element microphone now offering
AVB connectivity. The mic design incorpo-
rates three phase-coherent hypercardioid
capsules with tailored frequency response
optimized for speech intelligibility. It
provides a 360-degree coverage pattern
up to 20 feet in diameter. With the new
AVB capability, conferencing, distance learn-
ing, courtroom and government applications
that utilize AVB transport can deploy up to five
M3 tri-element microphones of audio over a single
Ethernet cable. audixusa.com
RCF E Series
Analog mixing consoles with
specifically designed preamps,
dynamic compressors on mic
input channels, semi-para-
metric 4-band EQ with a high
degree of control, stereo USB
port for recording/playback,
USB power port to feed exter-
nal devices, foot switch input to
control effects, and long-throw
faders. All models also incorporate a newly designed 32-bit floating-point
Z.Core DSP effects engine offering 80 predefined presets – 40 reverbs, 20 de-
lays and 20 modulation effects – with two responsive parameters that can be
modified. In addition, a bank of 20 user presets is available with immediate
shortcut recall positions. rcf-usa.com
FEBRUARY 2018 LIVE SOUND INTERNATIONAL 9
 LOADING DOCK
PreSonus EarMix 16M
An 16x2 AVB-networked personal monitor mixer
providing flexible, expandable stage monitoring
that can be networked with a StudioLive Series
III mixer. The onboard headphone amplifier can
drive low-impedance devices such as profession-
al-caliber in-ear-monitors. Channel grouping and
stereo channel linking foster creation of custom
mixes for musicians. Limiting and 3-band EQ with
sweepable midrange frequency can be applied to
each channel as well as to the main mix. Up to 16
mix scenes can be stored and recalled locally. The
EarMix 16M can be powered with its external pow-
er supply along with Power over Ethernet (PoE),
which enables network cables to carry electrical
power to compatible devices. presonus.com
Sennheiser Digital 6000 v2.0
The latest firmware update for all EM 6000 wire-
less microphone receivers enables a Command
function that lets users set up a talkback channel
with suitable transmitters.
The update also improves the Auto Setup
function of Digital 6000, where it’s now possible
to distribute transmitter sync settings from one
master receiver to all associated receivers. Also
included is a new sync option, “Frequency Only,”
that only changes the transmission frequency,
leaving all other settings untouched. Also now
provided is an audio mute for the receiver as well
as soft backlighting to all function buttons and
switches, facilitating work in dark environments.
Firmware v2.0 can be downloaded at the company
website. sennheiserusa.com
10 LIVE SOUND INTERNATIONAL FEBRUARY 2018
Mackie MP Series
A line of in-ear monitors that
includes the single dynamic driv-
er MP-120, dual dynamic driver
MP-220, and dual hybrid driver
MP-240. All models have ergo-
nomically molded enclosures
with three different types of ear tips. The detachable cables are shielded and
internally-braided, and are equipped with MMCX connectors for easier wear-
ing and flexibility. mackie.com
Bose Professional T8S & T4S ToneMatch
Compact stereo mixers for onstage
applications offering illuminated
tactile controls, an easy-to-read
display and scene recall. Tone-
Match processing presets work
with the DSP engine (including
effects and Bose zEQ equalization, which redefines low, mid and high ranges
for each ToneMatch preset). Each T8S channel has dedicated ToneMatch, EQ,
dynamics and effects that include compressor, limiter, de-esser, noise gate,
chorus, flanger, phaser, tremolo, delay and reverb functions. The T8S has eight
preamps with XLR-combo jacks to accommodate microphones or instruments,
with switchable phantom power. Two aux inputs allow for additional source
inputs. Outputs include four aux sends, balanced quarter-inch TRS and XLR
stereo outputs and an independent headphone output. USB-A and USB-B
connections allow for USB drive playback or PC/Mac interface. The smaller T4S
offers most of the same features as the T8S. pro.bose.com
VUE Audiotechnik h-8N & hm-108A
The h-8N 2-way loudspeaker is a narrow dispersion (60 degrees horizontal)
sibling to the company’s h-8. It has an 8-inch transducer
that’s combined with a neodymium com-
pression driver with the company’s propri-
etary Truextent beryllium diaphragm. The
cabinet includes M10 rigging points and an
integrated pole-mount. The hm-108A is a
compact stage monitor also housing an 8-inch
transducer and beryllium-infused compression
driver. Both new models are driven by onboard class D amplification and in-
clude onboard VUEDrive electronics programmed for each unique transducer/
cabinet combination. vueaudio.com
Eastern Acoustic Works EAWmosaic v1.1.1
The latest version of the company’s app for system design,
prediction and optimization further enhances the usability
of the Radius loudspeaker line with macOS support
as well as several bug fixes. It’s a tool for designers,
engineers and technicians of all levels, and is available
for download from the App Store. eaw.com
www.ProSoundWeb.com
Shure IntelliMix P300
An audio
conferencing
proces-
sor with
proprietary
IntelliMix DSP algorithms that enhance audio
quality in video meetings, along with a variety
of connectivity options and seamless operation
with Microflex Advance and Microflex Wireless
microphones. It connects up to eight Dante mic
channels to a room video system, USB soft codec,
or mobile device. Each channel supports multiple
IntelliMix DSP features, including Acoustic Echo
Cancellation (AEC), noise reduction, and auto-
matic gain control, plus automatic mixing. These
features provide full-duplex communication for
echo and noise-free meetings. USB connectivity
enables the P300 to be used with common soft
codec programs such as Skype and BlueJeans,
and a 3.5 mm connector facilitates mobile
phones and tablets. shure.com
Harman Soundcraft Vi000-series 6.4
A software update adding five
primary new features designed
to streamline the workflow of
the company’s Vi000 consoles
(Vi1000, 2000, 3000, 5000 and
7000). Specifically, the Vi-series
now supports Sennheiser Digital
6000 digital wireless micro-
phones in the VM2 monitoring
system, providing views of
battery status, RF, audio level and Sennheiser’s Link Quality Indicator directly
within the channel strip display. The new Autocomplete patching feature
allows any range of channels or buses to be sequentially patched or cleared
in a single operation, using the console’s Gang facility. In addition, new
Strip Lock allows any fader strip to be locked in place on the surface at the
touch of a button. In addition, the console’s user-defined fader page layouts
can now be stored and recalled with snapshot automation. And, the Direct
Output Gain Stabilization System (D.O.G.G.S), already available on Si consoles,
becomes part of the Vi feature set. It allows signals sent from the console’s
direct output to maintain a constant level, even when changes are made to
the input preamplifier gain. soundcraft.com

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www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 11

 LOADING DOCK
Audio-Technica
Fourth-Generation
3000 Series
A frequency-agile true diversity series of UHF wire-
less systems providing 60 MHz tuning range, more
than twice that offered by the previous versions.
Two frequency bands are available – DE2 (470–530
MHz) and EE1 (530–590 MHz). Frequencies can be
scanned and selected on the receiver and then
synced with the transmitter via IR sync functional-
ity. Users can also set a backup frequency that can
be quickly swapped by pressing the transmitter’s
multifunction. Available system configurations
include an ATW-R3210 receiver along with an
ATW-T3201 bodypack or ATW-T3202 handheld trans-
mitter. Both transmitters are powered by two AA
batteries, and they also include charging terminals
that work with the ATW-CHG3 and networkable
ATW-CHG3N smart charging docks (sold separate-
ly) to recharge NiMH batteries. Antenna power is
available for powered antennas and other in-line
RF devices. audio-technica.com
Audinate Dante AVIO
A family of six endpoint adapters for connect-
ing legacy analog and digital audio equipment
to Dante networks. Options include line-in and
line-out analog, bi-directional AES3/EBU, and
bi-directional stereo USB. Being part of a Dante
system also allows for nearly unlimited scalabil-
ity while providing low latency and easier config-
uration. The adapters are interoperable with any
of the more than 1,250 Dante-enabled products
on the market. audinate.com
12 LIVE SOUND INTERNATIONAL FEBRUARY 2018
Verity Audio
IWAC220P
A compact active line array
with dual 10-inch neodym-
ium cone drivers as well as
two 1-inch (1.75-inch voice
coil) neodymium compression
drivers driven by a 3-channel class D
amplifier (1x250 watts, 2x800 watts). Horizontal
dispersion is 120 degrees, with stated maximum SPL of 136
dB (1w/1m) and frequency response of 80 Hz to 20 kHz (-10 dB). Verity V-NET
network control can remotely address (via PC or Mac) each of the three drive
units independently for full control of onboard DSP, while a second dedicated
network bus can monitor the entire system. The rigging design allows setting
array angles on the ground for faster setup. The companion SUB136P active
dual 18-inch subwoofer is driven by two 1,200-watt class D amplifiers and is
stated to deliver response down to 30 Hz. verityaudioamerica.com
DirectOut MADI.9648
A MADI sample rate converter designed for live sound applications involving
consoles operating at 48 and 96 kHz. It’s equipped with eight MADI ports in
providing four independent SRC blocks for bidirectional conversion of 128
audio channels. A 1 FS MADI stream with 64 audio channels is converted
into two 2 FS MADI streams carrying 32 channels each. Conversely, two 2 FS
streams are converted and combined into a single 1 FS stream. Also included
are six BNC ports (in keeping with interfaces widely found on live consoles),
while two optical SC ports extend the connection options for 1 FS signals to
help enable integration of external equipment with most current consoles
operating at 96 kHz. directout.eu
Ashly Audio digiMIX18
A rack-mountable digital mixer with iPad remote control that’s equipped
with buttons and knobs,
intelligent fader and
meter bridge, and a 7-inch
touchscreen interface. It
also includes a free iPad
app that delivers the
remote control capabil-
ity. The mixer offers 18
inputs, 12 output buses,
equalization and dy-
namics processing, two
effects engines, auto-mixing functionality, optional Dante digital connectivity,
and supplied rack-mounting hardware for a locking rack system. ashly.com
www.ProSoundWeb.com
Harman JBL VTX A12W
A line array
module offering
120-degree hori-
zontal dispersion
that can be used
in conjunction
with the VTX A12
or by itself in
its own config-
urations. Every
component of the VTX
A12W utilizes the technol-
ogies introduced in the VTX A12,
including completely redesigned low-,
mid- and high-frequency sections and improved
low-frequency extension. The 12-inch neodymium
LF woofer (LF) has a 4th-generation Differential
Drive design, with a new dual-voice coil, dual-mag-
net arrangement introduced with the VTX A12 engi-
neered to deliver improved linear excursion, power
handling and sensitivity. jblpro.com
www.ProSoundWeb.com
XTA & MC2 120 Amps
Two-channel power ampli-
fiers available as the Delta
120 and DNA120 models
from MC2 and XTA, respec-
tively, offering 96 kHz Dante
inputs as an option. Both
are stated to deliver more
than 7,000 watts per channel into 2 ohms and 5,000 watts per channel into 4
ohms. audiocore.co.uk, mc2-audio.co.uk
Funktion-One F124
A bass enclosure incorporating
a combination of the company’s
horn-loaded technology and a 24-
inch cone driver. Developed with
Precision Devices, the driver has a
double 6-inch voice coil motor with
a very high Bl factor of 50. It has a
stated frequency response that’s
below 30 Hz. funktion-one.com
FEBRUARY 2018 LIVE SOUND INTERNATIONAL 13
 Perspective
MIXING OR MASTERING?
Reflections on a changing paradigm for live engineers.
by Ales Stefancic
I
’ve been standing in front of mixing consoles for almost
two decades now. From my first encounters with knobs
and switches on a small-format analog mixer to touch
screens and moving faders on large digital desks, my approach
to mixing remained fairly uniform for the first half of my career.
During sound check, I would go through each channel, adjust
controls, then move on to the next one. At the end, I’d ask the
band to play so I could set the entire sonic image, adjusting all
of the channels again so that everything worked well together.
When the show started, I’d compensate for changes with the
usual variables (audience, temperature and humidity, “attitude”
of the performers, etc.) and then run the faders, knobs, and
rack units through the end of the performance. This procedure
was religiously adhered to and repeated, and even though my
knowledge, confidence and experience grew, everything I’d
learned simply helped me do things faster and with a more
reliable outcome.
Other than that, the approach remained unaltered. My focus
14 LIVE SOUND INTERNATIONAL FEBRUARY 2018
was on each separate channel, where adjusting them during the
show was the “bread and butter” of my mixing.
FROM A TO D
However, a paradigm shift in this approach began with the
introduction of digital consoles and the ability to save sessions,
cues, shows, presets, snapshots — making it possible to not
have to start from scratch every single time. It’s a good starting
point because most of the prep work has already been done:
channel, bus and aux routing, basic gain structure, EQ and
compression, all neatly stored in the “brain” of the console,
available at the press of a button.
The initial struggles of forgetting to save sessions and snapshots
after sound check or a show introduced a lot of graphic language
and stress, but when saving and backing up my data became sec-
ond nature, some of my “analog ways” became a thing of the past.
Yet I was still using the powerful world of digital in a very
underwhelming manner — only as a starting point for my work.
www.ProSoundWeb.com
I still went through every single channel on the console during
sound check, even if it didn’t need adjusting, and I still ran the
live show the same way I always had, manually adjusting all of
the parameters between songs.
Sure, I got to the end result faster, but the approach was pretty
much the same. Even though I’d been exposed to the magic of
presets, I was still mixing one channel at a time.

SHIFTING FOCUS
Constantly facing growing complexities of an increasing number
of shows, I came to the realization that my approach wasn’t an
option anymore. Setting up shows with time code, running cues
that altered more and more parameters, introducing studio
plugins to the world of live audio, extending channel input
counts into three-digit numbers — it became humanly impossi-
ble to focus on every minuscule change on each separate channel.
The solution to this growing monster of complexity: program-
ming the console itself to be the mix engineer while I assume
the role of mastering engineer. During shows, I don’t focus on
separate tracks, but on the master bus. My workflow is different.
Sound checks no longer involve saying “kick, please” multiple
times; they’re about room measurements, EQ curve matching
and tinkering with the master bus EQ and dynamics. Separate
channels only come to the foreground during line checks.
The focus of mixing larger shows has turned from single Snapshots of a recent show – each part of the show has a dedicat-
ed snapshot with changes to EQ, dynamics, FX, levels, and more…
channels to their sums — groups, DCAs, and the master bus.
Sure, I have to be a mix engineer during the pre-production
stages, and I might still go back and tweak some channels on digital console world to their fullest potential.
various cues and snapshots during setup, but when show time And the show will still retain our sound, because we’ve pro-
comes, I’m zeroed in on the master bus, mostly taking care of grammed the board and made all of the choices. We’re just
snapshots being fired at proper moments. I’m tweaking the trusting the equipment to execute our orders with a level of
summed results of a mix, a stereo mixdown if you will. I realized precision and complexity that could never be achieved by run-
that I’ve become a live mastering engineer. ning all the parameters in real time.

WHO’S IN CHARGE? BABY STEPS

Does this take away from the mix experience? Maybe, for some.
I’ve had discussions with engineers who still prefer to treat digital
consoles with an analog approach. They don’t like the fact that
they have to yield some of the control to the automation process,
and feel like mixing should be the engineer’s contribution to that
particular moment.
To some extent I agree — keeping our fingers on faders and
controlling the sound in the moment gives us an exhilarating
rush of being an organic part of the show. Yet it can only be truly
effective if certain conditions are met: small channel count, a
basic approach to effects, not using too many plugins, not being
a part of a time code system.
However, if it’s a major production with large channel counts;
if there must be time cue changes to very specific moments of
the show; if the console is used to control other gear via time
code or MIDI; if there’s a mandate to match the live sound of
a band to that of a record with numerous effects and a lot of
instant changes, then it would be very ineffective (and poten-
tially career-damaging) not to use the powerful tools of the
As with most things in life, this is not black or white. Finding a
balance between how much mixing remains under our fingertips
and how much of it we transfer to the equipment is always a
personal choice. Maybe we just want to have presets for various
changes of effects between songs or want to introduce special
moments with a dramatic change of sound at a few key points
of a show.
But knowing all of the options and being able to program an
extra set of “digital hands” to turn the knobs when needed allows
us to expand possibilities, making us a better hiring choice for
whatever job comes along. So I say give it a go, tinker with the
myriad options of presets, snapshots, scenes, cues, snippets,
and so on, and decide what’s right for you. LSI
Ales Stefancic has served for more than 20 years as a FOH/
monitoring 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.

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 15

 In Profile
BORN FOR THIS
Catching up with
noted engineer
Ken “Pooch”
Van Druten.
by Kevin Young
K
EN “POOCH” Van Dru-
ten has always been driven
to excel, no matter the
endeavor. “I think it started
with my parents instilling in
me that you’ve got to be the best at what
you do,” says the veteran Dallas-based mix
engineer who’s worked with some of the
biggest touring acts in the world over a
career that’s coming up on 30 years.
At front of house, it’s a list that includes
(among many) Linkin Park, KISS, Guns N’
Roses, Justin Bieber, Kid Rock and Beastie
Boys, while at monitors, the roster con-
tains the likes of Eminem, Pantera, Slayer
and Whitney Houston. I spoke with him
late last year while he was out with Jay-Z,
and he quickly expressed one of his pri-
mary concerns: making sure the audience
gets their money’s worth at every show.
“I think a lot about concert costs,” he
explains. “Say that a couple decides to see
a show. They’ve saved all year for tickets.
Maybe they’re paying for a babysitter.
There’s parking, dinner, and they bought
the good seats, which are ridiculously
expensive. It better damn well sound good.”
Van Druten references a concert he
attended as a youngster in the 1980s: “I
saved all summer, mowing lawns, for a
15-dollar ticket to go see that band and
it sounded horrible. I was mad, so I’m
16 LIVE SOUND INTERNATIONAL FEBRUARY 2018
never going to do that to anybody, or try
not to anyway.”
As a result, he tends to be really hard on
himself when he feels he hasn’t delivered.
“There are probably 10 shows in my career
that I’ve walked away from and thought,
‘I wouldn’t change a thing.’ But if I’m only
beating myself up over one little thing, I
still know the audience had a good time.”
FINDING THE PATH
Growing up in Lafayette, CA, Van Druten
studied piano and then flute, but switched
to guitar after realizing that flute players
“rarely get the girls.” Soon he became the
Swiss Army Knife of the school jazz band.
“I was playing saxophone and our drummer
moved away, so the teacher was like, ‘Ken,
why don’t you learn drums?’ The next thing
you know I was playing jazz drums.”
Being a self-described “problem child,”
he did time at multiple boarding schools,
eventually finding his niche at Southern
California performing arts school Elliot-
Pope Preparatory. His first inkling that
he preferred engineering to performing
was in high school after winning studio
Ken “Pooch” Van Druten at his DiGiCo
SD7 prior to a show at Yankee Stadium
in the Bronx.
time at a battle of the bands contest and
finding himself more interested in what
the recording engineer was doing than
what the band was doing.
While he went on to attend Berklee Col-
lege of Music in Boston on scholarship as
an electric bass player, he decided to switch
from playing to engineering and has never
looked back. “I was a pretty intense player,”
he says, but knowing there were many bet-
ter players out there and the chances of play-
ing bass for a living were slim, he decided to
pursue a Bachelor’s in music production and
engineering. “Literally two weeks after I got
to Berklee, I went over to Newbury Studios,
begged the owner for a job and said I’d work
16-hour days emptying garbage cans if he
wanted. I’m sure he’d heard that before, but
he decided to go with me.”
By the time he earned his degree, he’d
become Newbury’s head engineer and, after
graduating in 1992, with a solid reputation
as an engineer, moved to Los Angeles to
www.ProSoundWeb.com
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 IN PROFILE
work at Paramount Recording Studios in
Hollywood. He went on to receive three
Grammy nominations but insists that many
early opportunities, such as engineering the
Tony! Toni! Toné! double-platinum Sons of
Soul album, came about strictly by chance:
“I got that job was because they [the band]
had gone to Trinidad to record, spent their
recording budget and didn’t record any-
thing. So the label put them in the cheapest
studio in town with the cheapest engineer,
which was me.”
SHIFTING GEARS
Shaping
Van Druten had no desire to mix live at that
point, and the possibility wasn’t even on
his radar until, during a demo session with
sound. Warrant, singer Jani Lane said the band had
fired their live engineer. An opening date
for Ratt was looming the next night, and
dbaudio.com/moreart-lessnoise Van Druten was asked to handle it.
“I told them, ‘I don’t know anything
about live sound, dude. I’ve never even
mixed a show,’” he says. “And the reply
was along the lines of, ‘It’ll be fine. You’re
killing these demos.’ So the next night I
mixed the band at the LA Forum in front
of 10,000 people.”
The attraction to the live world, ini-
tially in the form of instant gratification,
was immediate. “Remember, this was
Van Druten with some outboard gear, including a couple of pieces from Rupert Neve Designs.
18 LIVE SOUND INTERNATIONAL FEBRUARY 2018
before Pro Tools,” he notes. “Sometimes
we’d spend two days on a guitar solo, and
I was a bit dissatisfied being locked in a
room for 16 hours a day, so I went for it
and never looked back.”
Van Druten mixed front of house for a
variety of metal bands, but soon the Grunge
wave hit and groups like Warrant began
losing popularity. “I followed Warrant into
the ground,” he says. “There was a moment
in 1994 – I was driving a van with the band
and crew in it and a U-Haul on the back
from Florida to San Francisco. Somewhere
in the middle of Texas I remember thinking,
‘What am I doing?’ But I loved those guys
and worked with them for years.”
For a while he found front of house
work to be scarce and started taking tech
gigs. However, a two-year stint mixing
monitors for Whitney Houston from 1997
to 1999 soon led to front of house work,
starting with the 1999 KISS reunion/
farewell tour, which, he says, was the cat-
alyst for getting even more work. Since
then he’s mixed a highly diverse group of
artists, yet while his approach to mixing
changes from artist to artist, the way he
prepares for every tour remains constant.
“Whenever I’m offered work – well,
except for the Jay-Z gig because I got called
literally the night before the dress rehearsal
www.ProSoundWeb.com
CREDIT: SHELLIE VAN DRUTEN
Pooch at his home recording studio joined by his pooches, Sadie and Benton.
– I study the artist’s catalog intensively,”
he explains. “The equipment we have now
allows for record-quality mixes with impact.
That’s what people expect.
“When I started, if the vocal could be
heard, we were high-fiving,” he adds,
laughing. “So my job is to try to repro-
duce every nuance of the record. There
are some changes I make; with a legacy
rock act I’m not going to mix at 104 dB
because that audience doesn’t want it to
be ridiculously loud, whereas at a hip hop
show, they expect the sub information to
knock your socks off.”
Another constant is where the vocal sits
in the mix: “If you take a survey of people
who go to shows – not musicians, but peo-
ple who don’t know anything about mixing
– 10 out of 10 will tell you the reason the
show sounded great was that they heard
and understood the vocal the entire time,
including between songs. They’ll say, ‘Your
mix was great. It had a lot of impact,’ but
I know what they’re really saying is that
they heard the vocal all the time.
“Average people at a show don’t care
how the snare drum sounds, but what
they do care about is understanding
everything the vocalist says. It’s so much
of a focus for me that I start line check
with vocals. I think it’s hilarious that
everyone starts with the kick and sits
there and tweaks for 30 seconds, two
minutes, five minutes... Get the vocal
right in the PA first and then all of the
other stuff will lie in there.”
www.ProSoundWeb.com
Shaping
EVOLVING THE APPROACH
Given recent advancements in pro audio
experience.
technology, loudspeakers in particular,
Van Druten believes there’s no excuse dbaudio.com/moreart-lessnoise
for a bad-sounding show: “All of the tools
exist for every seat in an arena or stadium
to sound good. It’s how you deploy them.”
That said, he believes that heavy depen-
dence on technology is akin to bringing
a gun to a knife fight. “One reason I see
engineers fail is they’re using too much
technology; trying desperately to use 22
plug-ins on something, or whatever. Less
is always more.”
He describes himself as someone who
sticks to what he knows – a creature of
habit. For the past five years, barring
some outboard gear that he swaps in for
specific gigs, that means a Waves-enabled
DiGiCo SD7 console at front of house.
“Every couple of years I’ll adopt a new
technology, partly because I feel like I’m
getting my butt kicked by a younger kid
who maybe adopted that technology
right off the bat,” he notes. “But I have
a number of front of house buddies, so
when something comes out, one of them
tries it and says ‘this is cool’ and then,
grudgingly, I’ll try it and be like, ‘OK,
this helped me,’ or ‘This didn’t help and
I’m never using it again.’”
He adds that as the pace of change
ramps up, he’s become more open to try-
ing new gear early on. But it still needs to
work within his style and aesthetic rather
than something being touted as the “lat-
FEBRUARY 2018 LIVE SOUND INTERNATIONAL 19
 IN PROFILE
est and greatest,” and he points to his
use of Waves plugins as a good example.
“I first got involved with Waves while
mixing Linkin Park in 2007,” he says.
“My Avid VENUE console was new, and
I was using plugins from other manu-
facturers for the first six months and
getting good results. But then I met
someone from Waves who gave me the
opportunity to try their stuff, and within
the next week I replaced 95 percent of
what I was using before and ended up
with a significantly better result.”
Ten years on, Van Druten’s relationship
with Waves is still going strong. Over that
time he’s developed plugins for the com-
pany and has recently been test-driving
the eMotion LV1 mixer that dispenses
with a hardware surface in favor of touch
screens. It’s a viable solution, but he adds,
“Most of the gigs I do these days are 120
inputs-plus. Managing that using a con-
sole that’s all touch screen, I think, would
be difficult.”
20 LIVE SOUND INTERNATIONAL FEBRUARY 2018
However, for lower input counts, he
states that, “It would be my go-to. First, it
sounds great. It does take a bit of getting
used to – riding a vocal on a touch screen
is different than having a tactile fader –
but like any other platform, you learn
how to use it, and I’ve mixed gigs with
it and adopted a workflow very quickly.”
FUTURE VISION
The willingness to adapt, along with ensur-
ing that the person with the microphone
isn’t being greeted by “What’d he say?”
and the proper care and feeding of diverse
audience expectations are all part of Van
Druten’s success. So, too, are people skills.
“I think that’s been a large part of my
success, and I tell kids starting out in
this industry to learn how to interact
with people,” he says. “If you can walk
into a room and instantly gauge other
people’s perception of what’s happening,
then you’re over and above in being able
to communicate with them.
“And let’s be honest: musicians are sur-
rounded by people who tell them what
they want to hear. For big artists who’ve
been doing this for a while, it’s refreshing
for them when you tell the truth. Now
that only works if you’re really telling the
truth and they’re asking for your opinion.
It’s not like I walk up and say, ‘Hey, that
sucks.’ If you’re the person who walks in
and says, ‘I don’t like that part – just my
opinion – but I think that it would be
better if…’ they’ll respect you, and your
relationship is then based around trust.”
Another bit of advice he offers to those
just starting out: Regardless of how ded-
icated you are, how badly you want to
work in audio, and how complete your
education is, few people actually end up
working long-term in live sound.
“I get mad at schools that promise
ever y person in their program that
they’re going to have a job placement
after graduation,” he continues. “When
I speak at Berklee and Full Sail [Univer-
sity], I tell students that it’s not good
enough to graduate. You have to live, eat
and breathe everything about live sound
and be better than every other kid in your
class, and then maybe, just maybe, a live
sound company will hire you to hump
cable for a year. Not everyone gets jobs.
“I’m definitely aware of the opportuni-
ties that I’ve been given and I’m blessed to
be in the situation that I am,” Van Druten
concludes. “And I think it’s absolutely my
responsibility to pass on any knowledge
that I have to anybody who’ll listen. Every-
thing that I utilize in my workflow today
I learned from someone else. I watched
another engineer do something that
worked and adopted it, or I learned from
something they did that didn’t work.
“I really enjoy being in a room with 50
people, and as I’m talking about some-
thing super-technical, I can see in the eyes
of two people – two out of the 50 – that
they really get it. And you know that those
two are probably going to be the ones that
you’ll be competing with for jobs.” LSI
Based in Toronto, Kevin Young is a free-
lance music and tech writer, professional
musician and composer.
www.ProSoundWeb.com
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 Front Lines
IT CAME OUT OF NOWHERE
RF/wireless
strategies when
working with
(and around)
ENG/EFP crews.
by Ike Zimbel
O
ften when I hear reports of
RF interference at a show, the
description includes the line,
“It just came out of nowhere!” Actually,
where it probably came from is a van or
SUV with the name of a local TV station
emblazoned on the side. Here’s what you
need to know about broadcast RF and
other “surprise guests” at events.
1. Who is bringing these wireless
devices to the event? Typically,
they’re either news crews (a.k.a, ENG,
short for Electronic News Gathering) or
videographers that have been hired to
document the event (a.k.a, EFP, short for
Electronic Field Production).
2. What devices are they bring-
ing in? In the case of ENG crews,
count on at least one or often two trans-
mitters (one bodypack and one handheld)
per crew. These can be on one (or two)
different Tx (transmit) frequencies.
Further, if they’re accompanied by a
field van or uplink truck, they may also
have one (or sometimes two) IFB (inter-
ruptable foldback) systems, which are the
little earpieces that the reporter wears
to hear the “throws” from the station.
These systems are almost universally
Lectrosonics IFBT4’s, which work and
sound great, and have a whopping 250
mw output. That’s how it can cover the
22 LIVE SOUND INTERNATIONAL FEBRUARY 2018
distance from a van on the street into a
venue. For comparison, a Shure PSM-
1000 IEM transmitter puts out 10, 50
and 100 mw on low, medium and high
power settings, respectively.
Meanwhile, the wireless microphone
transmitters are often the plug-on type,
with the most common makes being Lec-
trosonics, Sennheiser, and Sony, with an
occasional Shure as well. An EFP crew
may have as little as one transmitter and
receiver or an entire bag (a pouch the
sound people wear around their necks)
or cart system with as many as eight or
more transmitters.
3. How likely is it that they will
show up at an event? It really
depends on the type of event. For exam-
ple, when I parachuted into the Shania
Twain Rock This Country tour in 2015
to manage wireless/RF, one of the first
questions I asked the management team
was what kind of media presence we could
expect at each show. They told me “none”
and I thought, “well, we’ll see...” In fact,
I didn’t see one crew on the whole tour.
The point is that when working with
artists of that caliber, they pretty much
own the venue when you’re there and
If you see one of these at an event you’re
working, it’s time to pay extra attention
to the RF situation.
have complete say over who gets in and
when. Note that this doesn’t prevent the
media from doing “streeters” (a.k.a., per-
son-on-the-street interviews) outside the
venue, and it’s possible that this RF signal
will get inside, albeit at a reduced level.
The same thing is true of large corpo-
rate events; however, there may be one
or more documentary crews on site. In
these cases, the crew had to be hired by
someone and so, in theory at least, there
should be someone like a production
manager who is aware of their presence
and can provide a heads-up so that their
frequencies can be included in your coor-
dination. I say “in theory” because the
EFP crew(s) may be hired by a completely
separate department (like the PR depart-
ment) from the show production people.
Moving down the list, any event at
which politicians are expected to appear
either as speakers or distinguished guests
are pretty much guaranteed to have ENG
crews on site. This is especially true of
sporting events, but public festivals also
fall into this category.
www.ProSoundWeb.com
4. You say that you work with
a wedding/bar mitzvah band
that only does art gallery openings,
so you don’t have to worry about any
of this, right? Wrong! It’s extremely
common for these events to have vid-
eographers present and they often
have wireless systems. The Sennheiser
ew100 G3 system with either a plug-on
or beltpack transmitter is the one I see
most often. Note that the receiver looks
identical to the beltpack in this system,
and the crews usually use much smaller
cameras (like DSLR’s), so they may be
harder to spot.
As well, if the weddings and bar mitz-
vahs you’re working include celebrities,
expect the media to be on hand. Note
that these ceremonies often take place
in houses of worship, so if you’re the
sound tech at the given worship venue,
it’s a very good idea to have strong lines
of communication with the person/team
who books these events. Through that
contact, you should (hopefully) be able
to find out if there will be videographers
at the ceremony and coordinate with
them before they step on the bride or
groom saying “I do” (or “maybe” or “can
I text a friend?”).
5. Why are these crews more likely
to step on our wireless chan-
nels than we are to step on theirs?
As noted earlier, the systems these folks
use can have – and be set to – very high
output power settings. And since they’re
often transmitting over very short dis-
tances (usually just a few feet from the
talking-head to the camera), nothing is
going to interfere with them. Remember,
with RF it’s whatever signal that gets to
the receiver strongest that’s going to win.
I’ve often seen ENG crews show up
with their RF systems tuned in the middle
of an active, off-air DTV channel. I used
to get excited about this and ask, “Hey,
did you know you’re in the middle of an
active TV channel?” and then move them
to another frequency. Now, however, I’m
more likely to leave them there because
A) none of my channels will be in there,
www.ProSoundWeb.com
The author’s message at events where
he’s handling the RF/wireless.
B) they don’t care, and C) their receivers
are just going to see the DTV signal as
an elevated noise floor that their trans-
mitters are going to step over anyway.
6. OK , how do we spot these
crews? Apart from the obvious
issue of having one of them land on or
near one of the frequencies you’re using,
they might pop up on a spectrum ana-
lyzer. However, for that to happen, you’d
need to be scanning the whole width of
the spectrum you’re occupying and be
aware of all of your own transmitters.
This can work if it’s a limited amount of
spectrum, say 20 MHz for six wireless
mics and six IEMs, but at the events I
work we’re usually talking about at least
200 MHz and hundreds of frequencies.
This is why I’m a big fan of scanning
in a much higher frequency range: visible
light. That’s right, often the best chance
of spotting these folks is keeping our eyes
open and looking around. After a while
we start noticing different signs of them
being present. For example, if you see a
heavy-duty tripod with no camera on it,
it’s a pretty sure bet that a crew is nearby
doing a “hit” (as they call it). Other times,
you’ll see the tripod, a blue cordura bag
with a camera in it, and a well-dressed
person standing around keeping an eye
on the gear – while their camera person
is parking the SUV.
Another tip-off is a camera with two
FEBRUARY 2018
closely spaced antennas on it. Shown in
the photo that opens this article (page
22), these two small whip antennas are
the UHF Rx antennas. You may also see
two other antennas on the back, which
are for a wireless camera (video) signal.
Of these two, the large rod antenna is
the camera signal transmit (the picture),
which operates in either the 2 or 5 GHz
range, and the “rubber ducky” antenna
on the back is the data or “paint” control
for the camera (so it’s a receive antenna),
which is in the 450 – 470 MHz “walk-
ie-talkie” band. Note that typically we
don’t need to be concerned about the
last two, and that it’s very common to
see cameras with those two antennas but
without the UHF microphone receiver.
7. So, once we’ve spotted them,
how do we deal with them? Once
again it depends on the event. For exam-
ple, when I’m working a National Hockey
League (NHL) outdoor hockey game, the
league mandates that it has complete
control over all wireless devices in use. In
this situation, I have complete authority
to A) ask what frequency a crew is using,
Remember, with RF it’s
whatever signal that
gets to the receiver
strongest that’s going
to win.
and B) coordinate a new frequency and
verify that the crew has switched to it and
remain on it. I typically have the same
leverage at political events.
In contrast, last summer at a four-day
festival at a public square in downtown
Toronto, I had virtually no authority to
ask anyone to change their frequency
while they were at large in the square,
so the job became more of an “observe
and report” scenario. I would approach
the crews, find out what frequency they
were on, check it against my coordination
and then if necessary, work around it.
LIVE SOUND INTERNATIONAL 23
 FRONT LINES

This situation does change somewhat
if the crew decides to make use of the
media risers provided by the event orga-
nizers (in this case, the city of Toronto).
Then, I have authority. However, an
important thing to note is that all pro-
fessional video cameras have audio XLR
inputs on them, so the best course of
action is to explain the RF situation and
request that they use an XLR out of the
media pool feed provided on the riser.
Lately I’ve begun requesting that the PA
supplier provide plenty of XLR cables
with the pool feed so that no camera
person can use the old “Oops, I didn’t
bring a cable!” dodge.
And dodge they will. I’ve found that
while most of the ENG/EFP folks are
cooperative and even appreciative of
being given a frequency they can call
their own, there’s still a certain num-
ber that try to talk or walk their way
around it. There are a variety of reasons
Posted notice regarding RF at the 2016
World Cup of Hockey, an international ice
hockey tournament sanctioned by the
National Hockey League (NHL).
why, the most common one being that
they’re always in a rush to get in, do
their hit, and get back in the SUV to
go to the next one.
Other reasons can be that they either
don’t like to, or don’t know how to
change frequencies, and/or that they’re
assigned frequencies at the station that
they’re expected to stick to. (These are
usually marked on the camera, some-
times incorrectly. On several occasions,
I’ve been asked to change a frequency
back to the assigned one after an event,
which I always do).
If they demand to know why they need
to change the frequency, I often respond
with, “Well, if your news report turns out
to be that the star’s microphone failed
during the performance, let’s make sure
that it wasn’t your mic that caused it to
happen in the first place!” LSI
Ike Zimbel is a wireless frequency coordi-
nator and tech based in Toronto. You can
reach him via LinkedIn.

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 History Files

THEN & NOW

The stage and system for the first

The Monterey Monterey Jazz Festival, October 1958.

Credit: Don Harris, Monterey

Jazz Festival Jazz Festival Archives

Turns 60.
by Gary Parks

S
ixty years. It’s amazing what
has changed over that period of
time. Gas was 30 cents a gallon,
a postage stamp cost 4 cents, the tran-
sistor radio was newly invented, JBL had
recently entered the pro audio market
in association with Fender guitar amps,
and the Shure SM58 was still almost a and seating would be erected. and audio engineer Harold Lindsay.
decade away from its introduction. And Two members of the committee tasked Their initial actions included persuad-
in 1958, the first Monterey Jazz Festival with realizing the festival were musicians ing the committee to move the planned
was held, with headliners such as Billie and audio aficionados who were adamant site of the stage to another spot in the
Holiday, Dizzie Gillespie, Dave Brubeck, that the audience would be expecting qual- arena where the sound would shoot away
and Louis Armstrong. ity sound reinforcement throughout the from — rather than toward — a group of
While covering the 60th festival last listening area. As a result, in July 1958, buildings that would generate slapback
September, I was given a copy of the Ampex Corporation was asked to assist echo (tested with hand claps). Instead,
December 1958 issue of Audio maga- with the acoustic design and sound rein- the sonic energy would be attenuated
zine that featured an article written forcement — just a few months before by a grove of trees outside the far end of
by audio pioneer R.J. Tinkham detail- the October event — a process headed by the arena. In addition, the grounds were
ing the preparations and audio system Tinkham, research director Walter Selsted originally contoured in a slightly raised
for that first festival. Among his many
accomplishments, Tinkham founded the
professional tape recorder manufacturer
Magnecord, worked at Shure and Ampex,
and co-founded Vega to manufacture
some of the first wireless microphone
systems used in radio and television.
Using his detailed article as a source, we’ll
look at the ways sound reinforcement has
changed in Monterey over the decades.

THE BEGINNINGS
With radio DJ Jimmy Lyons in the lead,
a group of Monterey music enthusiasts
proposed to host a jazz festival, and in
conjunction with the city council, selected
the county fairgrounds for the event. Jazz legends Dizzie Gillespie and Louis Armstrong sharing a mic in Monterey in 1958,
Specifically, the horse-show arena would while it’s a mic per drum on the kit of Akira Tana in 2017.
serve as the concert site where a stage Credit: Monterey Jazz Festival Archives & Eva Bagno

26 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com


Altec 21D condensers with power supplies
that served as the stage mics at the festi-
val’s inaugural run.
mound, so the high center was bulldozed
to create a flat, mildly sloped surface to
seat the anticipated 6,000 listeners.
The stage needed to accommodate acts
ranging from small combos to a 75-piece
orchestra, and had a proposed budget of
$1,500. With advance ticket sales bring-
ing in sufficient revenue, the final design
for the stage was upgraded from a flat
platform with hard back and side walls
(angled outward at 45 degrees) to a more
functional form that included stepped
risers for the orchestra sections, a sloped
ceiling to project sound forward, and a
width of 54 feet at the front. The stage
faced an audience seating area approxi-
mately 300 feet deep by 150 feet wide,
and “was designed to reinforce the direct
sound for the box holders in the front
third of the audience space.”
PROJECTING THE SOUND
Now the tale becomes even more interest-
ing. To reinforce everything from combos to
orchestras, a total of just six microphones
— three flown and three on stage — cap-
tured the music. With such a variety of acts,
this complement of mics had to adequately
serve vocalists and announcers, instrumen-
tal soloists, combos and rhythm sections,
and orchestral ensembles. The mics worked
with a left/center/right sound reinforce-
ment system, with a separate mixer for each
channel feeding amplifiers and loudspeaker
www.ProSoundWeb.com
stacks — three sets of LF enclosures plus
multicellular horns, crossed over at a fairly
low frequency.
As with a group of acoustic musicians
and/or vocalists clustered around a single
mic, the ensembles needed to pay careful
attention to blending their sounds acous-
tically, and soloists had to move closer
when it was their turn. Contrast this
method to most contemporary mixing,
where the drum kit usually has multiple
mics, each singer and instrumentalist has
a mic, and instruments like electric bass
may have a DI and a mic on the onstage
amplifier, with tonal and level blending
via a multichannel mixing console.
Front of house engineer Nick Malgieri,
who has run sound at the festival’s Arena
Stage for several years, notes that he cur-
rently utilizes about 40 channels for some
of the acts. The piano itself is handled with
five mics (though not all are used simulta-
neously) positioned at various locations
close to and above the soundboard. The goal
is to fully capture the acoustic sound of the
instrument while preventing bleed from
nearby percussion and other instruments.
RUNNING IN STEREO
The sound reinforcement for the first
show was designed to provide a stereo
A diagram of the first sound reinforcement system for the festival.
FEBRUARY 2018
experience to the audience “because
of the present wide interest in stereo,”
according to Tinkham. Extending out
from the left and right front corners in
front of the stage, two Altec Lansing
Voice of the Theatre H210 enclosures
were stacked horizontally, each with four
15-inch horn-loaded drivers, according to
the equipment list. These enclosures were
topped by an Altec 1004 multicellular
horn fed by four model 288 large-for-
mat high-frequency drivers. (The cross-
over point was 400 Hz.) The horns were
positioned two to three feet higher than
the lip of the stage, throwing toward the
more distant seating areas.
Centered on top of the stage ceiling at
about 30 feet above ground level, a Fidel-
ity Sound 5512 enclosure with four Altec
515 15-inch horn-loaded cone drivers
provided LF for a center channel, joined
by an Altec 1005 cellular horn fed by two
model 288 drivers.
The center loudspeaker only reproduced
the output of the center mics, and the left/
right mics fed their respective loudspeaker
stacks. No electronic mixing was used,
so the stereo effect in the audience was
controlled only by the positioning of the
microphones in relation to the performers.
Sixty years later, Malgieri chooses to
LIVE SOUND INTERNATIONAL 27
 HISTORY FILES
present the sound in left/right stereo
through Meyer Sound MILO line arrays.
He pans some channels to help localize the
performers on stage and to enhance the
overall musicality, saying that “it’s the only
way to get some separation in the mix.”
However, he avoids any hard panning so
that the audience sitting toward the sides
won’t miss parts of the performance.
MICROPHONE COMPLEMENT
The mics were all “systems,” each powered
by a dedicated vacuum-tube supply that
weighed 11.5 pounds – this equipment
was bulky! The three flown units were
Altec 21B omnidirectional condensers
with a stated frequency response of 20
Hz to 15 kHz and a sensitivity of -48 dB.
They were positioned three feet back from
the valance at a height of 10 feet above
the front stage riser. The center mic was
flanked by the other two, placed 10 feet
away on either side.
On the floor were four Altec 21Ds (I was
unable to determine the polar pattern of
this mic, though one source cited it as a
cardioid). One resided at the front lip of
the stage for the announcer while the other
three were positioned left, center, and right
for “general pickup” of the musicians. The
cables of these mics were tethered at 10 feet
so that they couldn’t be moved enough to
compromise stereo imaging.
Prior to performances, the stage crew
rearranged the mics to best capture the
particular act while maintaining the imag-
ing, in addition to ensuring that soloists
and vocalists could approach as needed.
The overhead mics were able to be moved
a couple of feet forward or backward on
suspended strings when necessary to pro-
vide better pickup.
THE MIX
The left/right mics were assigned to their
respective left/right channels, and each
set of mics (left, center and right) fed a
separate mixer — two Raytheon RPC-40
4-position broadcast mixers for left/right
and an Altec 4-position broadcast mixer
for center. The Altec mixer contained four
preamp modules, a line amplifier, and
a power supply unit. Effectively, then,
28 LIVE SOUND INTERNATIONAL FEBRUARY 2018
An example of the Altec multicellular
horns deployed in Monterey.
this early festival sound reinforcement
design blended the acoustic outputs of
three discrete systems.
From the mixers, the signals went to
customized equalizers that were specif-
ically designed for the properties of the
loudspeakers, which were measured over
several days based on the “warble tone
acoustic response” before the specific
filters were combined. Tinkham notes
that the equalization “yielded an essen-
tially flat acoustic response to 12,000 cps
(cycles per second) at a distance of 10
feet, and was down 4 dB at 15,000 cps.”
The output was then passed to an Altec
256C tube power amplifier dedicated to
each loudspeaker stack, which provided
75 watts to the combined load (for the
left and right stacks) of eight cone drivers
and four compression drivers. Putting
that in context, the small powered stu-
dio monitors next to me in my room as
I write this are each run with a 75-watt
bi-amp power module.
Or take a look at just one of the Meyer
Sound MILO line array enclosures at the
60th anniversary festival, with an inter-
nal 4-channel amplifier providing three
The current view of the Arena Stage from front of house.
channels of 1,125 watts and the fourth
with 560 watts (rated at “burst power”).
So the nominal power for the entire 1958
system was about the same as the wattage
delivered to one current HF driver!
There’s no mention in the 1958 article
about where the mix position was situated,
and I could not spot it within any of the
historic photos. However, the article does
state that a crew member “equipped with
a field telephone, served as a listener.” He
was seated toward the back of the audience
area to judge the balance and “phone in for
more piano or what not.” I’m assuming
that the three mixers were within close
proximity of each other so that adjust-
ments could be made quickly.
Currently, a DiGiCo SD10 digital con-
sole is positioned midway within the
arena, fed by two D-Rack analog-to-digital
converters on side stage, with a second
complementary DiGiCo setup for moni-
tors. Replacing the “field radio” is a Clear-
Com HelixNet communications system,
supplemented with FreeSpeak II wireless
intercoms. Also, several cameras on stage
relay the action on stage to a video mon-
itor at FOH, even when the curtains are
closed between acts.
Further, the present main system
serving the same space includes flown
MILO line arrays (eight modules per
side) joined by Meyer Sound M3B sub-
woofers and an assortment of front, side
and out fill loudspeakers. Combined,
www.ProSoundWeb.com
the power amplifiers deliver tens of
thousands of watts, and the sound is
excellent throughout the arena.
One key difference between then and
now is that the stated goal by Tinkham and
his associates was to have the sound system
be completely unnoticed, so that for the
more distant seats the sound level would
emulate what was being heard acoustically
in the close seats. No front fills were used to
enhance the level for nearby listeners, and
the performers were also blending acous-
tically, without monitors. As stated in the
article, “The naturalness of the sound was Dixieland from Jake Stock and the Abalone Stompers in 1958, and trumpeter Brian Stock
due to two factors — a uniform frequency of Along Came Betty performing at the festival in 2017. Credit: Eva Bagno
response from the speakers, and running
them at a reasonable level.” attenuated and only the overheads used, As a final note, on the first day of the
resulting in the performance “sounding 60th Monterey Jazz Festival we heard
THE RIGHT BLEND terrific.” a great band called Along Came Betty
I’ll close with a couple of stories. Dizzie When my wife and I are in town for the at the Garden Stage. The trumpeter was
Gillespie, who was a main act at the first festival, we visit with a long-time local introduced as Brian Stock, and checking
festival and who was celebrated on the musician named Jackson Stock at the with Jackson later that evening, he con-
Arena Stage this year at the 100th anni- house where he grew up, a few blocks firmed that he was indeed family — his
versary of his birth, didn’t catch the idea from the fairgrounds. He’s told us that cousin. So though 60 years have passed,
of the stereo miking setup. He moved his parents played on the opening night the festival is still going strong while
the stage mics “every which way, thus of that first festival as the Dixieland band forging a blend of the new with the tra-
intermixing the three channels.” Jake Stock and the Abalone Stompers, ditional. LSI
When the engineer put them back in with Jake on clarinet and his wife on
place after the first tune, Dizzy moved piano. When the electricity went down Gary Parks is a writer who has worked in
them again before the second tune, and mid-show, Dizzie went over to Grace pro audio for more than 25 years, holding
the sound reproduction suffered. To Stock and urged her to keep playing until marketing and management positions with
solve the problem, the stage mics were the lights came back on. several leading manufacturers.

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www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 29

 Backstage Class
GROUP CAPTURE
Success with
choirs and other
large vocal
ensembles.
by Craig Leerman
T
he very first gig my company
ser ved was at a church and
included a choir. It wasn’t sup-
posed to include a choir, but I found out
that it was the opening act at sound check
when all 50-plus members showed up.
I’d only worked with a choir once before
as a technician for another company,
where I learned the 5-foot rule from an
“old soundman.” Basically the rules says
to space microphones about 5 feet apart
across the front of the choir, pointed at
the middle row of the risers. At that gig,
this approach worked well.
When my fledgling company faced that
first gig with a choir, I remember taking
stock of our mic and stand inventories. We
had a bunch of Atlas straight stands with
round bases, some booms and a few extra
mics that could be dedicated to the choir,
but there wasn’t enough for the 5-foot rule.
Instead we placed the stands evenly
across the front of the choir and then had
them sing during sound check. I quickly
realized that we weren’t capturing the
members in the back couple of rows, and
we also weren’t getting enough of the
bass singers. Both issues were solved by
repositioning a few mics to the highest
level possible via the addition of extra
booms to the stands, and then moving a
couple more mics closer to the bass sec-
tion, who were located toward the center.
These two relatively simple things
made a big difference, and in fact we were
surprised at how full the entire ensemble
sounded. Only later did I realize that the
30 LIVE SOUND INTERNATIONAL FEBRUARY 2018
Mics from DPA deployed in a floor stand approach to capture a choir.
choir was very experienced and profes-
sional, which in turn made our job a lot
easier. In fact, we probably could have
gotten away with carefully deploying just
a few mics to attain a satisfactory result.
Another approach that has proven to
be successful is the 3-to-1 rule. Essen-
tially it states that it’s preferable that the
distance between mics is at least three
times the distance from each mic to its
associated performer, so the leakage sig-
nal from the distant performer into the
nearer performer’s microphone will be
COURTESY OF RAY RAYBURN
Floor-based miniature mics and thin
booms such as the Audix MicroBoom
shown here present a very low profile.
about 10 dB lower – low enough not to be
a problem. As always with every method,
your mileage may vary so it’s important
to keep an open mind and experiment.
BASE ISSUES
What I’m going to focus on here are ways
to successfully capture choirs and other
large vocal groups when there aren’t ded-
icated mics in place, which can be the
case even at venues such as churches and
performing arts centers. With that in
mind, we’re learned a lot in working with
larger vocal ensembles many times over
the years since that first company gig.
We might still follow the 5-foot rule
or place the mics closer or farther apart,
depending on the pickup pattern of the mics.
Our goal is to overlap the patterns by a little
bit to help ensure we’re capturing everyone.
If the choir is on a riser (or risers), an
effective method is to position the mics
high and then aim them downward so
that they’re pointing at the middle row of
singers, about as equidistant from every
row as possible. If the group is on the
same level, try to get the mics up higher
and point them down at each section.
Options for large groups include mics on
floor stands, boundary mics, flown mics
and individual mics. Our standard approach
is floor stands because more often than not,
www.ProSoundWeb.com
there’s no good option for properly flying
mics, at least in an efficient manner. This
usually entails using booms to get the mics
above the heads of the singers.
Atlas model SB36W stands have large,
heavy bases, and while they’re designed
for use in studios, they also work quite
well in this application. We’ve taken the
wheels off of ours to keep them from
moving accidentally after placement. Ulti-
mate Support has a similar stand called
the MC-125. The heavy bases counter
the imbalances created with the booms.
If you don’t have access to stands of
this nature, place sandbags or weights
on the bases to provide added stability.
Bases can then be “dressed up” with fabric
or a section of drape to make the package
look more professional.
When it comes floor-style options, have
a look at miniature mics and thin booms
such as the MicroBoom system from Audix,
CSM from Ace Backstage, CBM324 from
Galaxy Audio and the CAD 1700 system.
These models, as well as similar styles,
offer slender booms that provide a pleasing
(low-profile, non-obtrusive) look on stage.
Choices are plentiful when it comes to
mics to deploy with floor stands, including
small-diaphragm condenser models like the
Shure SM81, AKG C451, and Electro-Voice
ND66. All of these and several others sound
great with vocal ensembles, while their
small size and weight make them a great
fit with extended floor/boom stands.
Another option is stereo mics. We
work with a school choir that owns sev-
eral RØDE NT4s, which we’ve found allow
us to deploy fewer mics/stands because
they cover a larger area than standard
monophonic mics. If small directional con-
densers aren’t available, consider standard
dynamic handhelds such as the Heil PR 22,
EV PL80a and Shure SM58/SM57.
ATTAINING BALANCE
If there’s not enough of the same type of
mics to get the job done, then try to use the
same models for individual sections of the
group; i.e., model “x” for all of the sopranos,
model “y” for all of the altos, and so on.
Mixed choirs (male and female voices
together) are normally divided into four
sections. Typically (but not always),
www.ProSoundWeb.com
Although it may not always be feasible, suspending mics above the ensemble can be
very effective. (Courtesy of Countryman)
women sing at the two highest ranges
of the spectrum, called soprano and alto
(short for contralto). And typically (but
not always), males sing at the two lower
ranges, called tenor and bass/baritone.
Variations may include women who sing
in-between the soprano and alto ranges,
which is called mezzo-soprano (mezzos).
Singers in traditional choirs are usually
grouped into sections. However, beware that
some prefer to intermix the different ranges,
which can make it more challenging to pick
up “sections” and balance out the group.
Usually, bass sections lack in volume.
It’s harder for some people to sing lower
notes as loud as higher notes, so it’s a
good idea to give them a little extra atten-
tion, perhaps by adding more mics to cap-
ture them and/or miking them closer.
An excellent method to capture a choir
is with small, suspended mics such as
the Countryman Isomax 2, Earthworks
C30, and UniLine and Pro Series from
Audio-Technica. They’re typically hung
from rigging over a stage, positioned
above and slightly in front of the group.
If overhead rigging isn’t available, try
stringing a thin wire rope (i.e., piano
wire) between two stage walls, making
the wire taught with a turnbuckle. Sus-
pend the mics from the wire and then
optimize their positioning. However, be
sure to get permission from the venue
before doing this, along with having a
qualified person install the wire.
MAKING IT WORK
We’ve done several shows involving choirs
where floor stands weren’t desired because
FEBRUARY 2018
they would interfere with camera shots,
and meanwhile, overhead rigging wasn’t
available. These situations were overcome
with a couple of creative approaches.
The first involved boundary mics, in our
case a combination of Crown (now AKG)
PCC160s joined by a couple of Audio-Tech-
nica AT871Rs placed on the floor a few feet
in front of the group. It worked well, but in
rehearsals we discovered the need to carpet
the risers because the mics picked up the
choir’s shoe noises. We also had to reposition
the bass singers more to the front so they
were closer to the mics while also moving the
sopranos toward the back to even things out.
Another creative technique involves the
use of several SM58s placed on desk stands
in front of the choir but out of the view of
the cameras, joined by few shotgun mics on
stands to the sides of the choir (also out of
frame). Again, the choir sections might need
to be moved around to balance things out.
For smaller ensembles, consider giving
all members their own mics. They can be
wired or wireless handhelds, or headsets/
earsets and lavaliers. We frequently work
with a 10-member ensemble and have
found that it’s easier to equip all of them
with headsets, especially because they also
dance and generally move around quite a
bit during performances. Clear medical
tape helps hold the mics in place, while
clips keep the cables from flopping around.
With this particular group we utilize
Countryman E6 headworn cardioid mics
with a stated maximum SPL of 136 dB, so
they’re not going to distort even if some-
body sings too loud. Point Source Audio,
DPA, and several others provide direc-
LIVE SOUND INTERNATIONAL 31
 BACKSTAGE CLASS
tional headworn options also designed
to handle high SPL levels.
A technique we’ve also employed with
ensembles is to group two to four singers
around a dynamic vocal mic on a stand. A
key with this is placing people of similar
height near each mic and adjusting the
stand to fit. Another is placing similar
style singers next to each mic (like louder
sopranos, softer altos, etc.) so the mic
can be adjusted for the group as a whole.
With a little pre-planning and switching
people around at sound check, this tech-
nique can work great. An added benefit
is that soloists need only to lean into the
mic. It’s proven to be particularly effective
with school ensembles where students are
showcased with solos on almost every song.
WHEN IN DOUBT, INNOVATE
A colleague has come up with a nifty
approach for his church choir. The sanc-
tuary has a very high ceiling with no rig-
A MORE
INTUITIVE
MIXING EXPERIENCE
Free Remote Control
App for iPad®
32 LIVE SOUND INTERNATIONAL FEBRUARY 2018
COURTESY OF COUNTRYMAN
Soloists can be individually miked with
headset/earset mics (a Countryman H6 in
this case) to better capture their voices.
ging points, and the church doesn’t want
to hang mics, especially if it’s a wire rope
screwed into the ornate woodwork walls
and ceilings. At the same time, the church
has stated that they also don’t want a bunch
of mics on stands in front of the choir.
His solution? He has 12 channels available
for the choir on his console, so a few of them
are devoted to shotgun mics deployed in
the general area but relatively out of sight.
The church also has eight wireless beltpack
transmitters that he’s outfitted with omni
headset mics. These are placed on the bass
singers and others who sing softly.
He then has really strong singers stand
next to and right behind those wearing the
mics, capturing all of their voices pretty
well. This is enhanced by the added input
from the shotguns. (The inputs from the
headsets are delayed slightly to put them
in sync with the inputs from the shotguns.)
While he wants to add a few more head-
sets to optimize this even further, I’ve
heard his choir and they sound fantastic
through the PA. It just goes to show that
great vocal ensemble sound can be attained
in a variety of ways, and don’t hesitate to
try a little creativity in the pursuit. LSI
Senior contributing editor Craig Leerman
is the owner of Tech Works, a production
company with offices in Reno.
Ashly.com /digiMIX
www.ProSoundWeb.com
 World Stage
HALLMARK CONSISTENCY
Numerous challenges conquered in recent applications.
by Live Sound Staff
Mix engineers Gary Lewis (left)
and Travis Briles with one of the
Yamaha RIVAGE PM10 consoles
out with Chris Young.
NOT LOSING SLEEP WITH A DUAL
DIGITAL CONSOLE STRATEGY
Front of house engineer Gary Lewis and monitor engineer Tra-
vis Briles are both doing their mixing and more with Yamaha
RIVAGE PM10 consoles on the current “Losing Sleep 2018 World
Tour” of arenas by country artist Chris Young. The consoles are
being supplied by Sound Image (Escondido, CA and Nashville),
which is also providing all audio production for the 30-plus city
tour running January through May.
Briles says both engineers are very familiar with Yamaha con-
soles. “The PM10 is extremely intuitive and user friendly without
sacrificing functionality,” Briles adds. “Everything is available
on a hardware knob that greatly lends itself to the styles that
we use to mix. Having the Yamaha Comp 260 built into every
channel means the onboard dynamics section sounds great.
www.ProSoundWeb.com
“That said,” he continues, “the plugin assortment available is
amazing. The different Rupert Neve Designs emulations are spot
on. I, for one, love the Neve 773 EQ and the Neve 754 compressor
having both on the outputs of all of my mixes. I’m hardly doing any
compression or EQ with them; however, just inserting them into
the change adds a warmth and edge to the mix that I find desirable.
I have also found the Portico 5043 to be a fast favorite of mine.”
Young has six band members on stage with him, and both
engineers are running the dual consoles and RPio racks on one
TWINLANe (Yamaha’s original digital audio network protocol)
loop. “This gives us the ability to share any inputs we have on the
desk,” Briles notes. “However, we run all of our inputs through
a splitter and hit the two different RPio racks independently.
For the most part, I control one rack in monitor world and Gary
controls the other rack from front of house. There are some
channels that I am pulling off of Gary’s rack and some that he
FEBRUARY 2018 LIVE SOUND INTERNATIONAL 33
 WORLD STAGE
is pulling off mine, thus making it necessary to run everything
in one loop. We’re running 50 inputs each with some miscella-
neous local inputs as well.”
MICROPHONE UPGRADES
AS A LEGEND CONTINUES ON
The most recent tour by Earth, Wind & Fire saw the legendary
artists utilizing a variety of microphones from DPA, including the
d:facto 4018VL on vocals and d:vote 4099 for select instruments.
“We chose to add DPA microphones because they have a great,
natural sound with excellent noise rejection,” explains Terry
“TJ” Jackson, the band’s long-time front of house engineer. “The
microphones capture a fullness that is really impressive. I’ve
noticed how the d:facto 4018VL can pick up the vocals from a
farther distance compared to the mics we were previously using.
“When Phillip [Bailey] takes a vocal solo, he will pull back
away from the mic and sing at a lower volume for showmanship
and personal effects,” Jackson continues. “Using the d:facto,
he was able to work the crowds with his dynamic vocal range.
The horn players also noticed a warmer sound in their in-ear
monitors when using the d:vote 4099s.”
Specifically, Jackson deployed d:facto 4018VL capsules with
Sennheiser and Shure wireless systems, and d:vote 4099s on
toms, snare and three horn players. There’s no processing,
he notes, just the addition of
Earth, Wind & Fire hard at work
with an assist from DPA micro- a bit of reverb and delay for
phones on the recent tour. some of the songs.
MODERN TECH FOR A HISTORIC
LIVE PERFORMANCE VENUE
The Arts Club in London recently invested in an Allen & Heath
dLive mix system as part of a significant audio upgrade. Founded
in 1863 by Charles Dickens, Anthony Trollope and Lord Leigh-
ton, the club is a premium members-only venue that attracts a
top-end clientele for live music and other events.
Supplied by SSE Audio Group, the new set-up includes a dLive
S5000 surface – with both Dante and AES3 I/O audio networking
34 LIVE SOUND INTERNATIONAL FEBRUARY 2018
cards installed – and a DM48 Charles Bidwell with the new
MixRack. An Allen & Heath Allen & Heath dLive S5000 sur-
ME-1 personal mixer is also face at The Arts Club in London.
now employed for drum mon-
itoring duties. “The flexibility and fast workflow of the dLive
system is incredible,” says Charles Bidwell, head technician at The
Arts Club. “It’s like a hybrid of my favorite features from all my
favorite desks: drag-and-drop fader population, great preamps
and EQ, a brilliant surface and very versatile patching.
“When touring engineers — of which we get many at The Arts
Club — use it for the first time, it becomes familiar instanta-
neously and I’ve had nothing but good feedback from them,”
he adds. “In fact, I like the dLive system so much I purchased
my own dLive C1500 surface and CDM32 MixRack for front
of house duties on Santan Dave’s UK tour.”
UPGRADING A BEAUTIFUL
BUT CHALLENGING LOCATION
Dating back to the movie palace era of the 1920s, the Loew’s 175th
Street Theatre on Broadway in upper Manhattan, today known as
United Palace, has a new sound reinforcement system headed by
L-Acoustics loudspeakers that supports its current incarnation as
a host site for concerts, theatrical productions and church services.
Audio Spectrum of Boston installed the system serving the
3,400-seat, multilevel venue. It incorporates 20 K2 array ele-
ments and six K1-SB subwoofers divided into two flown arrays,
joined by eight SB28 ground subs and four X8 coaxials for
front fill. All loudspeakers are driven by a dozen LA8 ampli-
fied controllers. “Rafael Jaimes at Audio Spectrum knows the
Palace well and said that K2 would be the perfect system for
this room, and it is,” notes Jed DeFilippis, technical director
and production manager for United Palace. “The perception of
the Palace is changing, being increasingly regarded as a great
concert venue, and by bringing a rider-friendly PA like K2 in,
we’re helping promote that perception.”
The new system, as well as L-Acoustics PANFLEX horizon-
tal-steering technology that combines mechanically adjust-
www.ProSoundWeb.com
 He adds that his “go-to” plugins include the F6 Floating-Band
Dynamic EQ, Primary Source Expander (PSE), and X-FDBK. “I
use the F6 on every channel; it’s an incredible plugin. In Run the
Jewels, the bass is very prominent, so it helps me control it, and
since there’s a lot of 40 Hz in the tracks, I compress that frequency
with the F6 to help clear up the muddiness. Then I side-chain the
vocal group to the F6 to duck out 4 kHz to create a pocket for
the vocals to cut through. To get a good separation between the
bass and the kick drum, I side-chain the kick to the F6 as well.”

A SOPHISTICATED DESIGN
FITS A UNIQUE CONFIGURATION

L-Acoustics K2 arrays deliver- able fins with DSP algorithms Adamson E-Series arrays played a prominent role on the Evolve
ing dynamic performance at effective from 300 Hz, also World Tour in 2017 by Imagine Dragons. The trek was the band’s
United Palace on Broadway in helped solve another issue in biggest to date in terms of scale and overall production values,
Manhattan. attaining coverage in shad- featuring a unique stage design that wraps the audience around
owed and hard-to-reach seat- the band in an almost 360-degree configuration that necessi-
ing sections on both of the theatre’s main levels. tated a sophisticated system design made up of components
“Now, we get the sound all the way to the back wall of both supplied by Sound Image.
levels, clearly and evenly,” says DeFilippis. “And L-Acoustics’
engineering came in and did the tuning in a matter of hours
after it was installed. Amazing.”

AN EFFECTIVE MIX STRATEGY ON THE GO

Front-of-house engineer Tomas Wolfe (The Neighborhood, Ever-

CREDIT: CHRIS DEMONBREUN

last, House of Pain, The Mowgli’s and others) is utilizing a Waves
eMotion LV1 live mixer for the latest tour by Run the Jewels.
Specifically, the LV1 package consists a Waves Extreme Server for
DSP and DiGiGrid IOX interfaces for I/O on stage, and Waves Icon
Platform M and Icon Platform X as the tactile fader controller.
“Setup is really quick and easy with this rig,” Wolfe says. “The
small footprint helps in festival situations where space is at
a premium. It’s easy to advance a Cat-6 cable to connect the
interfaces on stage to the LV1 mixer at front of house so I don’t
have to run my own, and that Engineer Tomas Wolfe at his
helps save precious time at Waves eMotion LV1, hard at
load-outs.” work with Run the Jewels.
The main hangs were com- A dynamic upward view of
prised of 18 E15 three-way some of the Adamson
enclosures per side, suspended E-Series arrays flying for
about 30 feet further upstage Imagine Dragons.
than usual. Using Adamson
Blueprint AV software, systems engineer Cameron Whaley of
Sound Image was able to avoid the potential pitfalls of that con-
figuration. Rounding out the package were side hangs of six E15s
and nine E12 enclosures per side, and rear hangs comprised of
eight compact S10 two-way, full-range cabinets per side. Adamson
E219 subwoofers handled the low end, with flown left and right
arrays of 12 cabinets and an additional six per side on the ground.
Whaley says the elaborate sub design produced some very
welcome results. “Having a sub array long enough to achieve
some directionality, we can get a good amount of energy to the
back of the room without it being overwhelming in the front,”
he explains. “By playing with the timing of the ground subs to
the flown subs, we can also fill in some of the holes between
the power alleys on the floor.” LSI

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 35

 Sound Advice

PERCUSSION PRINCIPLES
The latest direction in the quest for a semi-silent stage.
by Mike Sokol

If we can get the stage down to about 85 to 90 dB, then we

can do a very comfortable 90 to 95 dB mix in the room that can
sound very powerful without destroying everyone’s hearing. So
let’s explore four ways to get drums and/or percussion working
on a semi-silent stage.

1. Full Drum Isolation. Yeah, this is usually a matter of last

resort, and it can be a lot of work. Drum shields by themselves
in front of the kit do little to reduce the overall dB level in the
room. But they can do a good job of lowering the cymbal splash
hitting the singers standing in front of the drum set.
However, to be really effective, the drummer needs to be fully
caged in an isola-
tion booth, with
plexi-glass shields

I
t’s time to tackle the 800-pound gorilla on the stage... on the front and
the drummer. I’m not hating on drummers and in sides plus absorp-
fact really do love a great-sounding kit. I’ve miked tion panels on the
up hundreds of them over the past 40 years or so and have back wall and roof.
done a good job of it, maybe even great at times. (If I do say This in turn means
so myself.) that the kit has to
However, they’ve typically been on large stages in huge rooms b e fully mike d,
or outdoors, where the band can pretty much play as loud as and there also
it likes and there’s enough PA for 10,000 to 20,000 listeners needs to be dedi-
in the audience. But what happens when we take that same cated monitoring
band and put it in a small room for a worship service, wedding so the drummer
reception or corporate event? You know, gigs where the band can hear the rest
is not the star but a support act. of the band. Another
Well, it often turns into “loudness wars.” The band plays at consideration is addi- A plexiglass isobooth from ClearSonic.
110 dB or more while the client complains to me that it’s way tional lighting since
too loud but I’m only putting vocals in the monitors and that there’s now a roof of absorptive material a few feet over the
output is bouncing off the back wall so loudly that the main drummer’s head.
mix is turned down to nothing. Phew... While all of this can be made to work (and I’ve done it many
Generally, the loudness wars start with drummers. They aren’t times), it’s pretty expensive to do well and also tends to iso-
completely to blame since drum kits are designed to be hit hard, late the musicians from each other, something generally not
which makes them loud on stage. All other instruments then conducive to a great performance. But sometimes it’s the only
tend to come up to the same decibel level, so now there’s loud solution when the kit and/or the drummer playing it can’t be
bass, loud keys, and loud wedges on stage. controlled.
I’ve sat in the first row of many worship services where the
house system was turned off and still measured SPL of 105 to 2. Real drum shells with triggers on mesh heads, along
110 dB (A-weighted). Even if the level is a more moderate 100 with drilled “quiet” cymbals with built-in pickups. This is
dB A in the front row, it still forces the house system up to 105 my favorite way to do it, with Ddrum kind enough to send me a
to 110 dB just to get above the stage roar. full Hybrid drum kit with mesh heads, and Zildjiian providing

36 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com

 A djembe can be a pretty serious percussion instrument in
the right hands, but is still simple enough that most anyone
can make some beats (think drum circle). Add one to any of
these other drum alternatives and it really makes the other
musicians happy to play. At least that’s been my experience.

4. Smart drum pedals. Set aside negative perceptions —some

of the new drum pedals are a lot of fun to play while sounding
great. Of course it’s not like having a real drummer sitting
Ddrum Hybrid
behind you, but for smaller corporate and worship gigs they
kit and Zildjiian
Gen 16 quiet
could be just what’s needed. Here are a few examples that I’ve
cymbals. been experimenting with that interact with the front-line musi-
cians and provide a lot of sonic options.
When Beat Buddy by Singular
Sound first came out a few
years ago, it was hard to
take seriously. While
the pedal sounded and
me with the latest Gen 16 quiet cymbals with under-bell pickups worked great, and you
and tunable processing. Note that these are not sampled sounds, could change parts of
as with plastic cymbals on the digital drum set, so there’s no the song with the tap
trigger delay. They respond naturally, just like real cymbals. of a toe, there was no
The Gen 16 processor takes the actual sounds of these drilled simple way to edit any
metal cymbals and runs them though a tunable DSP controller, of the drum programs,
allowing you to tune them on the fly. They feel and play like especially on a Mac computer.
real cymbals but are at least 12 to 15 dB quieter in comparison And while the samples themselves
to an equivalent full-metal version. Stand right next to them, Beat Buddy drum pedal from sounded good, there wasn’t
have the drummer do a crash, and you won’t even flinch. Very Singular Sound. enough variety to make per-
cool technology. formers happy.
But all of that has changed and now there’s a really easy way
3. Alternate per- to manage the drum loops on both Mac and PC, plus there’s
cussion, i.e., cajon, now also an incredible library of songs and drum samples
djembe, etc. While ready to play. For $5 or so you get 10 drum programs ready
this probably won’t to play along. There’s stuff from The Beatles, Eric Clapton,
work for full-tilt rock The Rolling Stones, Eagles, Pink Floyd and a lot more. Plus
band, it can be a great you can assemble your own drum programs from the Beat
solution for worship and Buddy online beat libraries that include all sorts of patterns.
corporate gigs. A cajon is Further, new kits are being professionally recorded as sam-
really fun to play, even
for beginners, and is
not very intimidating. In
the hands of a skilled
A cajon enhanced with a kick pedal.
percussionist it can
be really great, plus it can be joined by additional enhancements
such as a kick pedal or tambourine zils (those “jingle things”).
Miking cajon can be challenging on a loud stage, but this can
be helped with the use of really cool double-mic pickups that
include both a dynamic mic for the “boom” and a condenser
mic for the “snap.” Further, you can select the cajon style to
match the style of music. I find that a “snare” cajon is the best
choice for the genre of music I’m typically providing for smaller The Finhol Stomp Laser Bundle can be driven manually at the
worship and corporate events. tap of a toe.

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 37

 SOUND ADVICE
Higher tech than it looks? A Finhole Kick Box that plays kick
samples via a wooden wedge form factor.
ples that can be purchased for around $10, and there’s also a
healthy online community of Beat Buddy users posting their
own beats for free.
And for some real fun there’s a “drunk drummer” setting that
will slop up the beats in a controllable amount. It really is like
a drummer in a box. (Sorry, drummers).
Yes, it’s a mouthful, but the Finhol Auto Stomp Laser Bundle
is a very clever drum machine that can be driven manually by
38 LIVE SOUND INTERNATIONAL FEBRUARY 2018
tapping your toe. It follows the user’s own playing tempo, not
the other way around. I’ve not had any actual drive time on one
of these yet, but saw a performer using it on stage a few weeks
ago and it was really cool.
By setting it to manual mode, the tapping of the toe is what
sets the tempo for each measure. So the user can speed up
and slow down the song and the drums follow, just as a real
drummer would in a live situation. (It’s actually a little creepy.)
There are additional versions from Finhole available that just
play a kick sample on a wooden wedge with a built-in trigger,
which would make a nice addition to a cajon or djembe. Is it
as good as a real drummer on the back line? Of course not.
But as a way to add interactive percussion to a semi-silent (or
even fully-silent) Stage, these are useful pieces of technology.
The bottom line is don’t knock it until you’ve tried it. An
85 dB SPL stage with a 90 dB SPL room mix really is possible.
But you just might have to convince your drummer first. LSI
Mike Sokol is the lead instructor for Live Sound Co, an AV inte-
gration and installation company in western Maryland. Visit www.
livesoundadvice.com for Mike’s educational articles and videos, and
email him at mike@livesoundco.com with comments and suggestions.
www.ProSoundWeb.com
 Tech Topic
FINDING THE LIMITS
Pursuing useful loudspeaker specs, including SPL.
by Christopher Grimshaw
I
n “Spec Wars” (July 2017 LSI),
I analyzed the industry-stan-
dard “maximum sound pres-
sure level” (max SPL) rating, which is a
single number that’s simply supposed to
tell us the maximum loudness of a given
loudspeaker. It does achieve that, but in
a way that’s so far removed from how
we actually use loudspeakers that the
specification itself is all but pointless.
We might as well drop loudspeakers out
of airplanes and see how loud the sound
is when they hit the ground.
This time we’re going to build on the pre-
vious article by finding the limits of some
real-world commercial loudspeakers and
then use that information to suggest a use-
ful set of specifications for those products.
TEST SIGNALS
Before diving in, it’s important to con-
sider the program material that will be
presented to the loudspeakers under
test. One of the most demanding test
signals is a sine wave. A little way above
the bottom tuning frequency, the cone
transducer’s motion reaches a maximum,
and this is usually where a loudspeaker
will first show its limits. As a result, that’s
the method that will be used – a sine wave
at a frequency selected to give the loud-
speaker maximum difficulty.
Music is made up of many frequencies
coming and going, so it’s entirely possible
that a loudspeaker specified with worst-
case sine waves will be able to produce
higher SPL by carefully choosing the
program material. Given that, the spec-
ifications that will be derived here will
be similar to those used for the old iron
touring amplifiers: “All units shall meet
or exceed these minimum specifications.”
40 LIVE SOUND INTERNATIONAL FEBRUARY 2018
In practice, this means that some pro-
gram material will go a few decibels (dB)
louder than the rating would suggest, but
even giving the loudspeaker the most
difficult time possible will still result in
the specified SPL being met. Currently
there aren’t many professionals that
seriously believe in peak SPL ratings,
and that’s quite sad: We’ve played the
marketing game so hard that the num-
bers are almost meaningless. Here’s an
opportunity to change that.
CASE 1 – PASSIVE LOUDSPEAKER
First up is a test of an older, passive
12-inch/2-way loudspeaker. The man-
ufacturer does not specify a maximum
SPL, but does suggest a sensitivity of 98
dB at 1 watt (1 w) input, and a program
power rating of 700 watts. In theory that
should result in max SPL of 126.5 dB.
This loudspeaker has a reasonably
heavy-duty compression driver and a
crossover point around 3 kHz, so it’s fair
to assume that the 12-inch cone driver
will be the first to show signs of stress
with normal program material. Follow-
ing a quick look at the impedance curve,
the port tuning is confirmed as 60 Hz,
and the cabinet volume is about 40 liters
(about 1.4 cubic feet) internally.
This is enough information to load the
cone driver into a simulation program
and see what’s going on. The driver has
a fairly generous 5.5 mm (.22 inch) of
one-way linear cone excursion, and so
it can produce a useful amount of low
end: 121 dB at 84 Hz, with a little more
than 200 watts input. Compared with
the active loudspeaker we’ll be looking
at next, the 5.5 dB shortage isn’t too bad.
However, feed it with a power amplifier
capable of the recommended 700 watts,
combined with program material with
a lot of energy centered on/around 85
Hz, and this driver wouldn’t last long,
as it would attempt to move 10 mm one
way – just under twice the rated travel.
So let’s give this loudspeaker a subwoofer
to play with, relieving the 12-inch cone
driver of the heavy lifting involved in pro-
ducing low-frequency signals in addition
to providing more headroom.
The most often-seen active crossover in
live sound is the 4th-order Linkwitz-Ri-
ley crossover. It’s useful for a variety of
reasons, including that it sums flat and
the low-pass and high-pass sections are
in phase. With such a crossover in place
at 100 Hz, our cone driver does quite well
– even with the full 700 watts of input,
excursion only reaches 5 mm at around
115 Hz. Chances are, then, that it will
still sound good even with that amount
of power being pumped in. The simulation
program also shows that it will be produc-
ing 126 dB above the crossover frequency.
As a result, for this particular loud-
speaker we can say yes, it will achieve
peaks of 126 dB and it should still sound
www.ProSoundWeb.com
pretty good, but only when accompanied
by subwoofer. Running down to 60 Hz,
121 dB peaks would be possible.
Evaluating passive loudspeakers in this
manner is relatively easy, but active loud-
speakers are another story. They have a lot
of signal processing that can add things
like frequency-dependent compressors
that will prevent mechanical damage while
ekeing out every bit of SPL possible.
CASE 2 – ACTIVE LOUDSPEAKER
Our next test model is a 10-inch/2-way
loudspeaker with a stated 700 watts of
“peak” power, or 325 watts continuous. It
claims 129 dB max SPL and a frequency
range of 55 Hz to 20 kHz (-10 dB). This
loudspeaker was chosen for a few rea-
sons: it has plenty of DSP available; it’s
reasonably cheap; I happened to have
one immediately to hand (and I’m not
emotionally attached to it); and it’s pretty
much the perfect candidate for the sort of
specifications that are widespread.
Before testing, I ran a quick simulation
of a top-end 10-inch loudspeaker in a
similar cabinet. To achieve about 129 dB,
the cone excursion required was slightly
over 20 mm one way, beyond Xmech (the
mechanical limit of a cone’s travel) of the
unit in question. We already know, then,
that our test loudspeaker won’t produce
129 dB over its entire bandwidth.
In the interest of my own sanity, I dis-
connected the drive units and connected
a load bank of the correct resistance. The
amplifier output signal was measured so
that all of the loudspeaker’s onboard DSP
trickery could be graphed.
The first set of frequency sweeps
produced interesting results. With the
loudspeaker set up for front-of-house
use, there was approximately 12 dB of
boost towards the low-frequency region,
peaking around 67 Hz. In order to com-
pensate for any EQ that was being used,
the initial sweep was used to calibrate the
loudspeaker so that a low-power sweep
would show as a linear response, and
any deviations from that would be very
obvious as the power level was increased.
With each test, a series of sweeps were
www.ProSoundWeb.com
Figure 1
performed, starting at low power and
working up until the “limit” light was on
continuously throughout the sweep, indi-
cating there was no more power available.
It’s worth noting that the software used
starts the sweep at a low frequency and
goes upwards.
Figure 1 shows the outcome. Start-
ing at the bottom line at 0 dB for a flat
response, power was increased by 10 dB,
resulting in a little wiggle around 75 Hz – a
sign of things to come. With that thresh-
old found, the power level was increased
in 3 dB increments (a doubling of output
power) until it was deemed best to con-
tinue with 1 dB increments.
Digging a bit deeper, we can see there’s
a gradual onset of compression around 75
Hz as power increases, until some limit
is found, where the level increases result
in zero level difference at 75 Hz. It’s also
worth noting that the “limit” light only
engaged for the final two sweeps, where the
output drops above a few hundred hertz as
the RMS (Root-Mean-Square, the effective
value of the total waveform) limiters start
to clamp down in order to save the 10-inch
cone driver from long-term thermal abuse.
Also on the subject of the “limit” light,
there’s a difference of about 24 dB from
the first sign of compression in the bass
to when the cabinet announces that it’s
engaging the limiters. That’s a really big
discrepancy – there’s an 11 dB difference
from when the bass is hard limiting and
when the red light comes on!
Clearly, when fed a full-range music
signal, there’s going to be a distinct lack
of bass well before the red light fires up.
FEBRUARY 2018
As we tried with the first test speaker,
filtering out the bass for a dedicated sub-
woofer might help matters.
This particular loudspeaker has a
switch that engages a 120 Hz high-pass
filter, so let’s try that. Figure 2 shows
that the situation has improved. There’s
a little compression below 200 Hz as the
power levels go up, but nowhere near as
drastic as with full-range operation.
A brief test of the high-frequency sec-
tion (compression driver) indicates that,
as suspected, the 10-inch cone driver is
the limiting factor in this cabinet: the
high-frequency amplifier does show the
onset of limiting when driven hard but
the mid-bass amplifier is very far into lim-
iting by that point. No further tests were
conducted on the high-frequency section.
So, what’s the verdict? We have a loud-
speaker that, when played full-range, will
show signs of compression in the bass quite
early on, but when a subwoofer is used, can
provide quite a lot more output. You could
say that this loudspeaker would be fine with
acoustic artists or when used with a sub-
woofer, but it’ll show it’s limitations quickly
when used stand-alone by DJs or bands.
RESULTS
Clearly, two specifications are needed to
describe the performance of these types
of loudspeakers. The first specification
would be full-range signals, with the
loudspeaker being asked to reproduce
the full spectrum.
The second specification would be with
the high-pass filter engaged to represent
how loud the loudspeaker can go either
LIVE SOUND INTERNATIONAL 41
 TECH TOPIC
Figure 2
with subwoofers or with program mate-
rial that does not demand low-frequency
reinforcement. Since the maximum SPL
achievable by a loudspeaker is usually lim-
ited by the low-frequency driver, remov-
ing some of the demands on that driver
ought to result in higher SPL.
Let’s derive those specifications for
the active loudspeaker. First, the full-
range signal. At the onset of limiting, the
amplifier puts out around 30 volts RMS,
which translates to around 250 watts for
a driver that’s 4ohm nominally. By taking
the Thiele-Small parameters for that par-
ticular drive unit, a good simulation of the
loudspeaker can be set up. At maximum
power, with no processing in the bass, cone
excursion would exceed 7 mm one way.
That doesn’t sound like a lot, but only the
best 10-inch cone drivers can manage that,
and the 10” driver used here is not in that
category.. Most get to around half that
figure before they go non-linear.
After the fairly gentle compression,
there’s a hard limit in the bass that’s 11
dB below the maximum output; 11 dB
below 30 volts input gives us 8.5 volts
input, which results in the driver moving
a little more than 2 mm one-way. The
driver would certainly be acting linearly
at this point, and if anything, the limiter
might be set a little conservatively.
Because the limiting in the bass hap-
pens earliest at 75 Hz, the SPL measure-
ment must be taken from there. In this
case, the SPL is 106 dB. That’s how loud
this loudspeaker will go when fed with a
75 Hz sine wave. It will go louder at other
42 LIVE SOUND INTERNATIONAL FEBRUARY 2018
frequencies, though, where the DSP isn’t
limiting the output so ferociously.
Next up, the high-passed signal. Look-
ing at the graphs, the high-pass filter is a
3rd-order Butterworth with a -3 dB point
at 120 Hz. There’s a little compression
below 200 Hz, taking off about 5 dB as
we approach the limiters. With the filter
and compression in place, cone excursion
reaches 2.5 mm one way at 125 Hz. The
loudspeaker will be producing 113 dB at
125 Hz. Consider, for a moment, that
the manufacturer claims that this unit
will produce 129 dB.
In a more formal manner, the way the
specifications have been derived is this:
� Find the point with earliest
compression/limiting.
� Subject the drive unit to a signal at
the worst-case frequency – the one
where the limiter kicks in earliest.
For our active loudspeaker under
test, it was 75Hz.
� Record the SPL produced at that fre-
quency. In this case, a simulation was
used in the absence of an anechoic
chamber.
� Record the frequency range of the
loudspeaker. This is very important
– a product that’s very loud but only
reaches down to 90 Hz might not be
as useful as something that’ll go flat
down to 50 Hz. Quote the -10 dB point
for full-range use or the crossover fre-
quency for use with subwoofers.
For our active loudspeaker, the speci-
fications should be expressed as follows:
� Full-Range SPL – 106 dB (55 Hz-20
kHz, -10 dB)
� Mid-High SPL – 113 dB (120 Hz filter
engaged)
And here’s the same for our passive
loudspeaker:
� Full-Range SPL – 121 dB (45 Hz-20
kHz, -10 dB)
� Mid-High SPL – 126 dB (4th-order
Linkwitz-Riley filter at 100 Hz)
� Recommended Amplifier Power –
700 watts into 8 ohms.
CONCLUSION
These numbers are perfectly attainable
by these loudspeakers, and it’s likely
that they’ll sound reasonably good when
driven with music at those levels. That
makes it an extremely useful specifica-
tion, similar to the ones given to older
touring amplifiers: “All units shall meet or
exceed these minimum ratings.” One can
be confident that those amplifiers would
always give out at least that much power.
In the case of the active loudspeaker,
with full-range program material, it’ll
do 106 dB and sound reasonably good
doing it. Not feeding it bass, it’ll put out
113 dB, and again, sound reasonably
good doing it.
To reiterate part of my previous arti-
cle on this topic – as an industry, we’re
having to make do with hearsay and quick
demos in less-than-ideal conditions to
help us choose products because the
specifications we’re being presented
with aren’t based on anything useful.
We should do better.
To those of you putting the numbers
on the brochures, boxes, banners, and any
other sales materials, consider this: prod-
ucts ought to be sold because they’re good
at what they’re designed to do. If they really
are the best, then sensibly derived numbers
will still be ahead of the competition. LSI
Christopher Grimshaw is a long-time
audio professional and the founder/owner
of Grimshaw Audio (grimshawaudio.com),
based in the U.K.
www.ProSoundWeb.com
 First Look
STEPPING FORWARD
An introduction to a new line
array/subwoofer combo from
dBTechnologies. by Live Sound Staff
T
he new dBTechnologies VIO
L208 compact active line array
and VIO S118 R active sub-
woofer integrate all of the company’s
most recent advances in loudspeaker,
electronic, software and networking tech-
nologies into a seamless package designed
to meet a range of sound reinforcement
applications.
A 2-way design weighing less than 40
pounds, each VIO L208 element has a
proprietary Digipro G3 class D amplifier
(900 watts RMS) and a deep digital sig-
nal processing suite matched with dual
8-inch neodymium woofers and a 1.4-
inch neodymium compression driver. All
of the transducers feed an “all-in-one”
panel that acts as both a phase plug and a
high-frequency horn, with the waveguide
behind this panel contributing to the
creation of a cylindrical wavefront that
optimizes HF performance, in particular
enhancing coherency at longer distances.
This is further honed by linear-phase
FIR (Finite Impulse Response) filtering
in the DSP that brings added linearity to
phase response in addition to optimiz-
ing the crossover between transducers,
enhancing their interaction as well as
44 LIVE SOUND INTERNATIONAL FEBRUARY 2018
affording improved coupling between
arrayed modules. The DSP also provides
presets for maximum acoustic customi-
zation and tailoring.
PUTTING IT TOGETHER
The VIO L208 can act as a stand-alone
system in addition to serving as a fully
compatible down fill for VIO L210 (10-
inch) arrays. And as with the VIO L210,
the VIO 208’s wooden enclosure comes
equipped with a built-in rigging system
intended for simplicity and speed.
A back-central rigging strand allows
setting relative splay angles directly in
the dedicated transport cart (model
DT-VIOL208), which is able to house four
modules and a fly bar. While lifting the
array into position, the rigging strand
automatically blocks the modules at their
preset angles, and it does so without the
need for heavy lifting.
A dedicated 3-point f lying frame
(model DRK 208) facilitates the setting of
precise inclination of the array. The frame
can also carry an optional inclinometer
laser pointer for even more aiming preci-
sion, and when not in use, it stores easily
in the transport cart.
All transducers in a
VIO L208 module work
with a panel that
serves as both a phase
plug and an HF horn.
The new VIO L208 active line array from
dBTechnologies.
Another accessory (model AF-VIO1)
fosters rigging modules under VIO S118
R flyable subs or beneath VIO L210 mod-
ules to provide down fill. It can also serve
as a safety interface for stacked configu-
rations of VIO subs.
ON THE LOW END
The VIO S118 R sub houses a single
18-inch cone driver (with 4-inch voice
coil) in a bass reflex configuration. It too is
driven by a Digipro amplifier (1,600 watts
RMS) working closely with DSP, specifically
designed for maximum efficiency at the
lower end of the frequency spectrum. Out-
fitted with both Power Factor Correction
(PFC) and a switch-mode power supply
(SMPS), the amplifier is highly resistant
to live voltage fluctuations.
Also onboard is system auto-test for
convenient diagnostics of both electron-
ics and transducers, as well as delay for
quickly establishing time-alignment, with
a maximum of 62 milliseconds (ms) of
delay available via the system’s Aurora
www.ProSoundWeb.com
Net networking platform and a maximum
of 9.9 ms delay (with 0.1 ms steps) via the
rotary dial on the back panel.
Also onboard is a cardioid array config-
uration preset for applications requiring
greater control of low-end sonic energy,
particularly at the rear of the subs/arrays.

I/O & MANAGEMENT

The package is topped off with network
flexibility, including an Audinate Dante
Expansion Card as well as the previously
noted Aurora Net platform that supplies
complete real-time monitoring and con-
trol. Cross-platform developed (Win, Mac
Screenshot of Aurora Net, which supplies monitoring and control.
OSX), it’s more than an evolution of the
company’s previous network.
Working via Ethernet cable (or via XLR) touch-oriented management on portable a zoom-in/zoom-out incremental dis-
the software fosters customizable DSP devices, with the workspace showing all play feature. It all adds up to a system
control and digital audio management main functions at a glance and operation approach that can be expanded and
(via the Audinate Dante protocol) on the through a single-click workflow. adapted as needed with other VIO Series
same cable. The layout has been designed Both an entire system or each sin- elements to present an exceptionally
for maximum usability and allows gle element can be addressed due to flexible package. LSI

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 45

 Spotlight

MORE MINDING THE GAP

Delving further into
inverted stack cardioid
subwoofer configurations.
by Merlijn van Veen

P
reviously (Mind The Gap, December 2017 LSI), we
looked at my preliminary findings about the possibly
beneficial effect of introducing gaps between adjacent
enclosures in cardioid stacks and arrays. Here, I’d like to delve
into that further.
The conditions for perfect cancellation are very stringent. I’ve
come to call this state the “center of tranquility at the eye of the
storm.” Notice how the chart in Figure 1 resembles a tornado.
A two-dimensional rendering of this chart (Figure 2) shows
that relative level offsets should remain within ±1.5 dB and
relative phase offsets within ±10 degrees in order to achieve
15 dB cancellation or more.
Let’s look at an example of the measurements I conducted on
the grounds of a former air force base. Figure 3 shows the rela-
tive back-to-front (rear-facing vs. front-facing subwoofers) level
at a distance of 105 feet (32 meters) behind a horizontal front-
back-front-back-front (FBFBF) array in portrait orientation.
Notice the increasing level difference towards higher sub-
woofer frequencies when the array is closed (without gaps). This
is caused by diffraction that increases with the overall baffle
The subwoofer deployment for this evaluation.
size of the entire array. Remaining within the ±1.5 dB corridor
is quite challenging.
Evidently, this could easily be remedied with either elec-
tronic level adjustments and/or equalization. However, this is
a practice I refrain from out of concern for “pattern implosion”
when limiters engage at different stages due to these electronic
adjustments. Changing the ratio of back-to-front-facing sub-
woofers, in my opinion, is a more elegant solution.
With gaps, the diffractive effect is less pronounced (due to the
breakup of the combined baffle) and relative level differences
remain better predictable, unless one has access to something
such as Boundary Element Method (BEM) modeling that exhibits
these phenomena.

Figure 1: A 3-D view of the “center of tranquility at the eye of

the storm.” Figure 2: The “center of tranquility” in 2-D.

46 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com

 Can You Hear
Me Now?

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 SPOTLIGHT
Figure 3: Diffraction affects level with increase in baffle size.
PHASED OUT
Figure 4 shows the relative phase offsets. This observation
alone, made the entire measurement process worthwhile for
me. With or without gaps, using the same delay time mandatory
for gradient (CSA) setups has a profound effect on the relative
phase offset, bordering the point that neither cancellation nor
summation will occur (120-degree phase offset).
Interestingly enough, group delay (phase slopes) remains
Figure 4 offers a look at the relative phase offsets.
Figure 5: Dimensions and flight times at 105 feet (32 meters).
48 LIVE SOUND INTERNATIONAL FEBRUARY 2018
virtually identical and yet we observe a “broadband” constant
phase offset. It’s something that, to my knowledge, can’t be
corrected with simple (pure) electronic delay. Staying at 180
degrees (±10 degrees) is again very challenging.
In the past I would blame this on arrival times as well as
the “wraparound” time, i.e., the time it takes for the sound to
warp around its own enclosure or array (think obstacles). But
the geometry of this setup does not support this.
Figure 5 shows the dimensions we’re dealing with. At a
distance of 105 feet, the spacing effect is negligible for path
lengths – certainly not to the degree we’re measuring.
The table in Figure 6 shows that we’re literally talking
centimeters, resulting in approximately 10 degrees of addi-
tional phase delay at most for the highest subwoofer fre-
quencies only.
In addition, in either case, the spacing does very little to
the shortest possible path anyway (Figure 5, bottom left). If
anything, the gaps only make it shorter. A different way of
thinking is required.
WHERE’S THE CENTER?
In his 2006 AES paper called “The Acoustic Center: A New
Concept for Loudspeakers at Low Frequencies,” professor John
Figure 6: A further breakdown shows that dimensions/flight
times come down to centimeters.
Figure 7: The three variables that determine the acoustic
center position.
www.ProSoundWeb.com
Vanderkooy presents analytical proof and compelling evidence
suggesting that the acoustic center of sealed or vented direct
radiator subwoofers resides in front of the enclosures. This
behavior persists up to frequencies where the physical size of
the source is about half of a wavelength.
There are three variables that determine the acoustic center
position for a subwoofer: driver radius, baffle radius and enclo-
sure depth. Their effects can be condensed into a single chart
(with respect to baffle radius) shown in Figure 7.
If the driver radius is relatively small with respect to the
baffle radius (x-axis) and/or the enclosure is relatively deep
with respect to the baffle radius (y-axis), the acoustic center
is propelled outwards by a certain factor or multiplier (z-axis),
away from the driver (on axis). This multiplier times the baffle
Figure 8: The ratio of driver to baffle decreases when the array
radius will produce the acoustic center distance.
becomes bigger.
When we build stacks or arrays, the combined baffle area
increases. However, due to the alternating orientation of sub-
woofers in gradient (CSA) configurations, the increase in com-
bined baffle area typically exceeds the increase in combined
cone area.
Figure 8 shows that the relative ratio of rdriver to rbaffle decreases
when the array becomes bigger compared to a single loudspeaker
where radius is derived from an area as if it were a perfect
circular disk. This decreasing ratio (x-axis, Figure 7) propels
the acoustic center outwards, away from the driver (on axis).
On the other hand, when the array becomes bigger, the enclo-
sure depth remains constant but the effective baffle radius
increases. Compared to a single loudspeaker, the relative ratio
of depth to rbaffle decreases and the acoustic center moves closer
(y-axis, Figure 7) to the cabinet in the opposite direction. A Figure 9: The array without gaps increases the separation on a
push-pull situation. frequency dependent basis between acoustic centers on both
The multiplier value shown along the z-axis shown in sides of the array.
Figure 7 remains virtually constant over array size, but when
applied to an also inherently larger baffle radius, the acoustic However, breaking up the baffle for gradient (CSA) stacks and
center will still move outwards which is consistent with my arrays not only restores the level imbalance but also the time
measurements. offset. Bringing us close again to the “center of tranquility at the
It’s also interesting to note that the front-back-front configu- eye of the storm.” The configuration becomes easier to predict
ration still shows a similar but lesser progression (smaller array) based upon the performance of a single subwoofer.
in terms of relative phase offset. If we convert the difference in As noted in my previous article, the challenge becomes to
relative phase offset between “closed” and “gaps” from Figure determine the minimum required gap size for improved rejection
4 into distance, we get Figure 9. without a noticeable increase in lobing. In fact, colleagues with
whom I shared my preliminary findings started experimenting
CLOSING THE GAP with air gaps between adjacent enclosures as little as the size
It’s readily apparent that the array without gaps (closed) of a fist and reported improved rejection.
increases the separation on a frequency dependent basis between My own observations confirm this. I intend to further
acoustic centers on both (front- and rear-facing) sides of the experiment with simple spacers between vertically stacked
array due to a larger combined baffle. subwoofers, and it might very well turn out that even the
In accordance with Vanderkooy’s paper, lower subwoofer casters underneath a dolly or wheel board could prove advan-
frequencies will exhibit this behavior more. Simple (pure) elec- tageous. LSI
tronic delay, as mentioned before, can’t fix this.
It’s unlikely that this behavior, which clearly changes with fre- Based in The Netherlands, Merlijn van Veen (merlijnvanveen.nl) is
quency, is the result of flight and/or “wraparound” times caused a consultant specializing in sound system design and optimization,
by constant physical detours and/or increased path lengths. and he’s also a noted audio educator.

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 49

 On Location
STANDING STRONG
Utilizing new
array technology
in service of
a very special
event. by Live
Sound Staff
3
G Productions recently stepped
up to provide stellar production
services in its hometown of Las
Vegas for “Vegas Strong,” a benefit con-
cert at 20,000-capacity T-Mobile Arena
commemorating the Route 91 Harvest
Festival shootings in October.
“If you live in Vegas, you can’t help but
have been touched by what happened at
the Route 91 concert,” says Keith Conrad,
3G’s chief operating officer and produc-
tion coordinator for the benefit concert.
“So much more than just another gig,
this benefit event was a very emotional
experience for the audience, the perform-
ers, and all of our crew. The response by
3G’s employees who offered to work the
show for free was both touching and
50 LIVE SOUND INTERNATIONAL FEBRUARY 2018
overwhelming.”
A variety of entertainers, including
musical artists, television presenters,
magicians and several Las Vegas icons took
part in the fundraising event. “This to be
the absolute best we could offer,” Conrad
continues. “We wanted to give our crew
something to lift their game, so we elected
to use a new system from d&b audiotech-
nik that we’d only just acquired, the GSL.
“We knew the potential of the GSL sys-
tem because we’d used it for Route 91;
that added a special poignancy [to this
event], though understandably few of
A look at the new
d&b GSL arrays
deployed by 3G
Productions.
A considerable coverage area,
and a packed house, for Vegas
Strong at T-Mobile Arena.
us recall what it sounded like that night.
This would be our first experience using
the system for an indoor event.”
The Killers served as the headlining act,
with the band’s long-time front of house
engineer Kenny Kaiser noting, “Being
able to mix a band at that gig was sober-
ing. I don’t think there was one person
that didn’t know someone that was work-
ing on, or watching that Route 91 gig. I
think the Vegas shooting, and before it
the Paris nightclub shootings, really hit
home for everyone working in this part
of the entertainment business.”
INSIDE THE DESIGN
The new GSL system from d&b hasn’t
been officially introduced yet, but a pre-
liminary overview is that it’s based upon
GSL8 (80-degree horizontal dispersion)
and GSL12 (120-degree horizontal dis-
persion) full-range line array cabinets that
are acoustically and mechanically compat-
ible. Both are 3-way designs housing dual
14-inch neodymium forward LF drivers,
dual 10-inch neodymium sideward LF
drivers, a horn-loaded 10-inch MF driver
and a trio of 1.4-inch-exit HF compres-
sion drivers mounted to a dedicated wave
shaping device.
All of the components are arranged
www.ProSoundWeb.com
symmetrically around the center axis of
the cabinet in order to foster an opti-
mized symmetrical dispersion pattern.
The design also allows for a very smooth
crossover design with a well-defined over-
lap of adjacent frequency bands, working
toward a goal of consistent and accurate
horizontal dispersion. Due to the arrange-
ment of the forward and sideward LF
drivers in combination with their pro-
cessing functions, the directivity is main-
tained across the entire frequency range.
The cylindrical wave segments of each
cabinet couple without gaps and sum up
coherently. Splay angles between adjacent
cabinets can be set in the range from 0
to 7-degree in 1-degree increments. GSL
cabinets are driven by two channels of the
applicable d&b amplifier which provides
dedicated processing functions for the front
LF and passively crossed-over side LF and
MF/HF sections. (Go to sl-series.com for
more info on the system.)
www.ProSoundWeb.com
A TOUCH OF MAGIC
“As for the show,” Kaiser states, “the GSL
rig sounded great, and it was nice and
even everywhere. The only thing I could
say about it is that I had to bump up the
outputs of my Lake processors to get to
the level I mix at most of the time.”
Manny Perez, 3G system tech for the
event, saw that coming. “There were
two reasons for it. One was simply the
bone-dry atmosphere in the arena, so you
need to compensate for the air absorp-
tion – something I like to allow each indi-
vidual engineer to adjust to their own
preference.
“More significantly, the other is a new
default position by d&b for GSL where
they’ve set the system gain a bit lower
when compared to, say, the J-Series. The
thinking is that an almost unreasonable
amount of gain has been added over
the years to ensure appropriate signal
strength at the end of long copper cable
FEBRUARY 2018
runs to paralleled amplifier inputs. But
in the digital age it’ no longer a problem
to deliver full signal from basically every
source you can imagine. Everything can
go to 0 dB (FS). So it makes a lot of sense
to lower the system gain to some more
reasonable values again.”
Kaiser notes that his previous experi-
ence in working with Perez increased his
comfort level. “I didn’t really worry too
much,” he says, “and from what I experi-
enced, GSL is light years ahead of J Series.
In fact, the whole 3G crew was great and
I was fortunate to be working for a band
that got asked to play.”
“We’ve put systems into T-Mobile
enough times to know just what that
room is all about, but what we expe-
rienced at the fundraiser was a game-
changer,” concludes Perez. “I’m glad we
committed to doing the show the way we
did. A little touch of audio magic was our
contribution to a very special event.” LSI
LIVE SOUND INTERNATIONAL 51
 Road Test VIA PROSOUNDWEB.COM
Electro-Voice
EXL200-10P
full-range
loudspeaker
and ELX-12SP
subwoofer.
T
he new ELX200 Series from Elec-
tro-Voice is comprised of three
powered and three passive full-
range loudspeakers joined by two com-
panion subwoofers (both are also available
powered or passive). The full-range mod-
els have lightweight, compact composite
enclosures with internal reinforcement
that’s designed to minimize resonance and
increase rigidity and strength.
They also have an angled side for use as
a floor monitor, professional-grade hard-
ware including M10 threaded suspension
points for forged eyebolts, integrated
pole-mounts, and well-placed handles.
EV’s patented SST (Signal Synchronized
Transducer) technology utilizes a larger
waveguide that’s placed forward in the
enclosure to better time-align the high-
and low-frequency components for more
precise and consistent coverage.
Both powered subwoofer models are
housed in rugged yet surprisingly light-
weight plywood enclosures. EV states that
the larger unit – the ELX200-18SP – is the
lightest 18-inch powered sub with a wood
cabinet on the market at 64 pounds.
All powered models in the lineup
sport efficient Class D amplifiers and
52 LIVE SOUND INTERNATIONAL FEBRUARY 2018
ELECTRO-VOICE
ELX200-10P
Evaluating a new powered
loudspeaker (and a companion
compact subwoofer). by Craig Leerman
high-sensitivity transducers designed to
produce very high sound pressure levels
(SPL) without distortion. Also onboard is
QuickSmart DSP providing a single user
interface knob to access parameters. Using
the companion QuickSmart Mobile app
that’s available for both Apple iOS and
Android, DSP functions can be monitored
and adjusted remotely in addition to using
the controls onboard the loudspeaker.
DIMENSIONS & CAPABILITIES
The pair of ELX200-10P full-range powered
loudspeakers supplied for this evaluation
each incorporate a 10-inch woofer and a
1-inch titanium compression driver matched
with a waveguide providing 90 by 60-degree
dispersion. Stated frequency response is
53 Hz – 20 kHz (-10 dB) and maximum
SPL is listed as 130 dB. As noted, the enclo-
sures are polypropylene, with 18 AWG steel
powder-coated grilles on the front. Each
unit measures 21 x 13 x
12.6 inches (H x W x D) and
weighs just shy of 30 pounds.
The rear panel is outfitted
with a DSP screen with sin-
gle parameter adjust knob,
along with two input chan-
nels with XLR/TRS combo
connectors and a pair of
RCA inputs that are both
summed and controlled with
Input 1 level. They can be
used simultaneously with
the XLR/TRS inputs. An
XLR output, power connec-
tor for an IEC cord, and an
on/off switch complete the
rear controls and connections.
The DSP offers four voicing presets
(Music, Live, Speech, Club) and four loca-
tion presets (Tripod, Suspended, Wall
Mount and Floor Monitor) as well as
3-band EQ, sub/top system match cross-
overs, master volume, and five user presets.
There’s also visual monitoring of input and
master levels along with limiter status.
The dual ELX200-12SP powered subs
in this evaluation each utilize a 12-inch
woofer. Stated frequency response is
41 Hz – 165 Hz (-10 dB) and maximum
SPL is 129 dB. The cabinet is made of 15
millimeter plywood that’s coated with
proprietary EV Coat, and like the tops, it
also has an 18 AWG powder-coated steel
grille. Two handles foster easy carrying,
and there’s a 20 mm threaded pole plate
on the top of the enclosure. Each unit
measures 16.7 x 17.6 x 18 inches (H x W
x D) and weighs 42.2 pounds.
On the rear panel, there’s
an LCD screen for the DSP,
a parameter knob and two
input channels, each with an
XLR/TRS combo input con-
nector and XLR output jack.
An IES connector for power
and power switch complete
the controls. The DSP provides
three voicing presets (Music,
Live, Club), sub/top system
match crossovers, 3-band EQ,
master volume control, and
A look at the back panel fa-
cilities of the full-range box
(above) and sub (below).
www.ProSoundWeb.com

Several screenshots showing the capabilities offered by the QuickSmart Mobile app.
five presets. Users can also monitor levels
and limiting. As with the full-range mod-
els, the powered subs can also be accessed
remotely via the QuickSmart Mobile app.
GETTING ACQUAINTED
My first thought when the delivery driver
pulled up to the shop was that he was
dropping of four full-range loudspeakers
because the subwoofer shipping cartons
were so small and light. Immediately I was
curious as to how a 12-inch sub would per-
form, so before the cartons even made it
inside, our warehouse manager Wes and I
unboxed everything and set up the system
by the dock door to check it out.
EV also sent a pair of ASP-58 adjustable
loudspeaker poles that mount the tops
above the subs, making it easy to get the
them in the air without needing tripod
stands. We had the system up in a few
minutes, and I grabbed a small mixer and
computer, linked them in, and set about
playing a bunch of test tracks. We focused
on the full-range models first, without
subs, and they handled every track well.
In particular, we were surprised by the
low-end extension for such a compact top.
Next we added the subs and were blown
away at how much bass they delivered.
The DSP also proved easy to navigate.
After enjoying dozens of test tracks, I
downloaded the QuickSmart Mobile app
on to my iPhone. Getting connected was
easy – all I had to do was scroll to the Con-
trol setting in the loudspeaker’s DSP and
turn it on. Then I fired up the app and it
instantly found the loudspeakers and let
me set up a group. It’s a very well-designed
app, intuitive and responsive, and as a
www.ProSoundWeb.com
bonus, I found out later that it can control
up to six loudspeakers simultaneously.
Satisfied that we understood all of the
controls and that everything was sound-
ing great and working properly, we didn’t
even load the system rig into the shop
for more testing. Instead, it went right
into a truck to work a show the next day.
MAKING IMPRESSIONS
The gig was a medium-sized corporate
meeting that we normally serve with a
pair of powered 15-inch loudspeakers.
The ELX200-10Ps proved to be so light
that it was easy to carry both at the same
time, one in each hand, from the truck to
the ballroom. The ELX200-12SP subs are
pretty light as well, but we used a hand
truck to load in the pair (we’re not as
young as we used to be).
The full-range boxes were placed atop
the subs via the ASP-58 poles, and then we
quickly wired it up. Using a combination
of the QuickSmart Mobile app and some
graphic EQ on the console, the rig dialed in
easily. I really like being able to access the
DSP remotely, and the app would also be
handy with a system installed in a venue
where it might be difficult to get to the
back of the cabinets to make adjustments.
After everything was set up, we played
a few demo tracks for the video tech, who
wanted to hear the small subs in action.
To say he was impressed with the low
end would be an understatement. While
the meeting was just a few speeches with
wireless systems and a podium micro-
phone, we did get to play some music
during walk in/out and breaks. The loud-
speakers served both spoken word and
FEBRUARY 2018
music equally well, and had no problems
completely covering the 200-seat room.
Next up was a DJ gig with a colleague
who needed to supplement his system for
a private party. While his pair of 12-inch
cabinets with companion 18-inch subs
covered the dance floor, our rig served the
bar and food area. Right after the gig, we
both agreed the EV system sounded far
better than his PA, and further, it would
have delivered more than enough sonic
energy for the dance floor, even with the
12-inch subs. He also liked the app and
the fact that the loudspeakers have preset
voicings and 3-band EQ, both features
that his older powered boxes lack.
ADDED VERSATILITY
A few days later, we deployed a single
ELX200-10P placed on its side using the
built-in cabinet angle atop one of the
ELX200-12SP subs, a combo that made for
a fantastic sounding (and plenty loud) drum
wedge. The sub proved to be a good height
to get the top close to the drummer but not
in his way. I also think the ELX200 boxes
would make great compact side fills as well.
Finally, we deployed the full system at a
nightclub for a jazz quartet. Normally we
handle gigs of this nature with a pair of
18-inch subs and full-range tops, but after
working with the EV combination for just
a few shows we knew it would handle the
gig. The overall sonic result was excellent,
and the small subs proved ideal for jazz.
The band commented on the sound quality
as well as the compact scale of the rig. One
other note: We mostly ran the system with
the “Live” preset at these gigs, but it’s great
that there’s a choice of different voicings.
The conclusion of this evaluation is
straightforward: the ELX200 Series delivers
great sonic quality at low to high volume
levels with ample processing power, all in
a compact, lightweight package. Anyone in
the market for a compact system should
put it at the very top of the list. With five
powered and passive models to choose
from, there’s something for everyone. LSI
Senior contributing editor Craig Leerman
is the owner of Tech Works, a production
company with offices in Reno.
LIVE SOUND INTERNATIONAL 53
 Real World Gear
MULTIPLE ADVANTAGES
Medium-format line array
parameters and a review
of current models.
by Live Sound Staff
T
he definition of what characteristics make a line array
medium-format, as opposed to small- or large-format,
is somewhat arbitrary. Is it how wide or high each
element is, how much it weighs, how many components each
houses, the diameter of the components, or how loud it gets?
For this overview, we’ve based the selection on the size of the
largest LF 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, lesser-scaled arrays allow wider splay angles within the
array elements, while still maintaining consistent coverage. This
characteristic can be useful for covering smaller venues that
have multiple levels, and can also help work around architectural
structures like the edges of balconies.
Further, they’re designed to be flown and taken down quickly,
often in “blocks” of individual modules, and to be flexibly adjust-
able to different curvatures – and many can also be ground-
d&b audiotechnik Y8/Y12
dbaudio.com
Configuration: 2-way
Dispersion (h x v): 80 or 120 degrees; vertical is array dependant
LF: 2 x 8-inch cones, dipole arrangement
HF: 1 x 1.4-inch-exit driver with a wave transformer
Frequency Response: 54 Hz – 19 kHz
Power: d&b amplification (D6, D12, D20, D80)
Rigging: 0 to 14 degrees in 1 degree steps
Size (h x w x d): 10 x 24.8 x 14.8 inches
Weight: 45 pounds
Companion Sub: Y-SUB (cardioid)
54 LIVE SOUND INTERNATIONAL FEBRUARY 2018
stacked. This flexibility 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 represented 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 “foot-
print” with differing horizontal coverage, allowing the user to
better customize coverage for a particular venue. Enclosure
width varies from a bit over 23 inches to over 30 inches, and
weight for each cabinet ranges from a bit over 30 pounds to
more than 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 cover the
lowest frequencies, and often 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 nar-
row 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.
The following Real World Gear overview of recent models
covers a variety of designs based around 8 to 10-inch LF com-
ponents. It’s not all-inclusive, but is meant as a solid starting
point for further homework. Enjoy the tour. LSI
RCF HDL 30-A
rcf-usa.com
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 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 adjustable splay angles
Size (h x w x d): 11.5 x 27.7 x 19.8 inches
Weight: 55.1 pounds
Companion Sub: SUB Series (8006-AS, 8005-AS, 8004-AS)
www.ProSoundWeb.com

Clair Brothers C8-M | clairbrothers.com
The C8-M is designed
to deliver exceptional
intelligibility. The 3-way
design incorporates
advanced transducer
technology for both
mid-range and high-fre-
quency reproduction,
both of which join a
common waveguide.
This is symmetrically
flanked by front-loaded
8-inch woofers, each in
their own tuned reflex
chamber.
The centrally located mid/high section provides 10-degree
vertical coverage and a standard horizontal pattern of 120
degrees. Variable horizontal coverage is also available that
can be defined symmetrically or asymmetrically by standard
angles between 50 and 140 degrees, or it can be configured
with continuously variable Clair TrueFit custom waveguides.
Arrays fly very rapidly. Each enclosure is equipped with
structurally integrated bimodal rigging to allow for quick cov-
erage angle adjustments for multiple venue arrangements.
RWG Spotlight Listing
TECHNOLOGY FOCUS: The horn and waveguides are
constructed, as all Clair waveguides are, with CNC
machined Baltic birch plywood.
OF NOTE: The rear rigging hardware allows for angle
adjustments between 0 and 10 degrees at 0, 2.5, 5, 7.5 or
10 degree increments. An installation version (C8-i) is
also available.
KEY SPECIFICATIONS:
Configuration: 3-way
Dispersion (h x v):
120 x 10 degrees,
additional 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 adjustable 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

L-Acoustics KARAi Renkus-Heinz VARIA VA101 dbtechnologies.com
l-acoustics.com renkus-heinz.com americanmusicandsound.com

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

Dispersion (h x v): 110 degrees symmet-
ric; vertical array dependent
LF: 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: LA8 amplified controller, provides
3 operating modes
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): 9.8 x 28.1 x 15 inches
Weight: 51.7 pounds
Companion Sub: SB18 (single 18-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): 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: NA
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): NA
Weight: 39.9 pounds
Companion Sub: VIO S118 R (single-18)

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 55

 REAL WORLD GEAR
Adamson S10
adamsonsystems.com
The new S10 is a 2-way, full-range line
array enclosure ideal for a wide range of
mid-size portable and install applications.
It’s loaded with two 10-inch ND10-LM Kev-
lar neodymium cone drivers joined by an
NH4TA2 1.5-inch-exit HF compression driver.
A wave shaping sound chamber produces a slightly curved wave-
front with a nominal dispersion pattern of 110 by 10 degrees (h x
v). The chamber exhibits increased vertical response with minimal
sacrifice of HF energy in the far field. Patent-pending Controlled
Summation Technology further eliminates low-mid lobing. The S10
offers a maximum peak SPL of 141.3 dB, quite notable for such a
compact enclosure.
The cabinet is made of marine grade birch plywood as well as aircraft
grade steel and aluminum. The rigging system incorporates Adamson’s
proprietary Slidelock rigging technology for exceptionally easy setup and
strike. An install-specific version (S10i) is also available.
OF NOTE: The S10 (and companion S119 sub) are designed to be driven by
the E-Rack unified rack solution, available in 8-channel and 12-channel
configurations with Lab.gruppen PLM 12K44 amplifiers (with Lake process-
ing) and supplied with a 20-port Ethernet switch to route dual-redundant
Dante and control signal. Blueprint AV software is included.
RWG Spotlight Listing
KEY SPECIFICATIONS:
Configuration: 2-way
Dispersion (h x v):
110 x 10 degrees
LF: 2 x 10-inch Kevlar
neodymium cone drivers
HF: 1 x 1.5-inch-exit compression driver
Frequency Response: 60 Hz – 18 kHz
Amplification: Designed for use with E-Rack
Rigging: Proprietary SlideLock rigging system
allows angles to be set prior to lifting
Size (h x w x d): 10.4 x 29 x 20.7 inches
Weight: 60 pounds
Companion Sub: S119 (single 19-inch)
TECHNOLOGY FOCUS: Controlled Summation
Technology brings the LF drivers as close
together as possible while symmetrically
outwardly splaying them, which increases
usable frequency range while decreasing
summation at the crossover point, reducing
interference. The LF drivers are also recessed
behind the exit of the HF sound chamber so as
to not limit their size and shape. Delay aligns
the LF and HF.

Alcons Audio LR18 DAS Audio AERO 8A

QSC Audio WideLine-10
qsc.com
Configuration: 2-way
Dispersion (h x v): 140 degrees; vertical
array dependent
LF/MF: 2 x 10-inch cone drivers
HF: 1 x 3-inch compression driver on pro-
prietary slot waveguide
Frequency Response: 55 Hz – 18kHz
Power: Biamp or triamp; external ampli-
fication
Rigging: Integrated hardware, adjustable
from 0 to 10 degrees in 1-degree increments
Size (h x w x d): 10.8 x 27.4 x 20.7 inches
Weight: 83 pounds
Companion Sub: WL218-sw (dual
18-inch), WL118-sw (single 18-inch)
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)
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
compression driver on BPS-191 wave-
guide-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

56 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com


NEXO GEO M10 | yamahaca.com
The GEO M10 is a mid-sized,
high-output line array devel-
oped for long-throw applications
CREDIT: YARROW KRANER
RWG Spotlight Listing
RECENT APPLICATIONS: At the Rialto Theater in
Bozeman, MT, the completely remodeled historic
venue is served by a system headed by arrays of
six GEO M10 per side, installed by Jereco Studios.

that include regional touring, In addition, the Cinquième Salle Stage at the
theatre, houses of worship, and Montreal Jazz Festival featured a GEO M10 system
commercial installation. A single incorporating six GEO M10 modules and three flown
MSUB15 subs per side.
10-inch driver helps in deliver-
ing an unprecedented ratio of
low-frequency response from a KEY SPECIFICATIONS:
NEXO GM10 arrays deployed at the
compact footprint. Configuration: 2-way
Rialto Theater in Bozeman, MT.
Two versions of the M10 Dispersion (h x v): 80/120
supply 12.5 or 25-degree vertical dispersion, and both have degrees x 12.5 or 25
80/120-degree horizontal dispersion that can be configured man- degrees
ually by removing the magnetic grill and adjusting an innovative LF: 1 x 10-inch cone driver
flange fixing system. The internal Auto Rig 3-point rigging offers HF: 1 x 1.4-inch (throat) compression driver on a
automatic locking and no loose parts, while the low-profile di- BEA/FEA optimized Wavesource
mensions ensure minimal visual impact and improved sightlines Frequency Response: 59 Hz – 20 kHz
in both flown and ground-stack configurations. Power: NEXO amplification (NXAmp TDcontroller)
The companion sub-bass cabinet, the MSUB15, weighs just 79 Rigging: Proprietary AutoRig system; choice of 9
pounds and is housed in either a sturdy touring package with a angles between boxes
steel grille or an install version with a cloth grill. It’s operable in ei- Size (h x w x d): 11.3 x 20.9 x 14 inches
ther omni or cardioid modes, and has large composite bumpers on Weight: 47 pounds
each corner along with side handles. The MSUB15 flies seamlessly Companion Sub: MSUB15 (single 15-inch)
with the M10, offering the same cabinet width.

Martin Audio WPC EAW Anna Meyer Sound LEOPARD

(Wavefront Precision Compact) eaw.com meyersound.com
martin-audio.com
Configuration: 3-way Configuration: 2-way
Configuration: 3-way Dispersion (h x v): 100 degrees x Adaptive LF: 2 x 9-inch cone drivers, Hybrid slot-
Dispersion (h x v): 100 x 10 degrees LF: 2 x 10-inch cone drivers (proprietary horn loaded
LF: 2 x 10-inch neodymium cones, Hybrid Offset Aperture loading) HF: 1 x 3-inch compression driver cou-
slot-horn loaded MF: 4 x 5-inch cone drivers (on proprietary pled to constant directivity horn through
MF: 2 x 5-inch neodymium cones, horn Radial Phase Plugs and CSA apertures) patented REM manifold
loaded HF: 8 x 1-inch-exit compression drivers Frequency Response: 55 Hz – 18 kHz
HF: 4 x 0.7-inch neodymium drivers, horn on proprietary horn Power: Self-powered (class D), Galileo
loaded Frequency Response: 45 Hz – 18 kHz loudspeaker management
Frequency Response: 65 Hz – 18 kHz Power: Self-powered, onboard DSP Rigging: Captive GuideALinks provide
Power: Biamp utilizing company’s iKON Rigging: Integral rigging hangs straight, ac- with splay angles from 0.5 to 15 degrees
iK42 class D amplification commodates up to 18 modules in an array Size (h x w x d): 11.1 x 26.9 x 21.6 inches
Rigging: Integral 3-point system for up to Size (h x w x d): 11.3 x 40 x 23.6 inches Weight: 75 pounds
16 enclosures Weight: 135 pounds Companion Sub: 900-LFC (1 x 18-inch)
Size (h x w x d): 12.6 x 30.4 x 16.6 inches Companion Sub: Otto (omni, cardioid or
Weight: 77.1 pounds hypercardioid)
Companion Sub: SX218 (dual 18-inch)

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 57

 REAL WORLD GEAR RWG Spotlight Listing
K-array KH2 | k-array.com TECHNOLOGY FOCUS: Proprietary Slim Array Technology
The KH2, the smallest element (S.A.T.) provides numerous sonic advantages, including
in the Concert Series, is one of optimized low- and low/mid-frequency performance as well
the many results of an inten- as a very high degree of control.
sive 10-year research project
conducted by K-array to develop
a truly next-generation touring/ KEY SPECIFICATIONS:
portable line array. Configuration: 2-way
Not only does the KH2 in- Dispersion (h x v):
clude the company’s signature Slim Array Technology in a 110 x 10 degrees (preset
very compact design, it also provides the ability to digitally dependent)
steer the output for far more precise coverage. This capa- LF: 2 x 8-inch neodymium
bility is further enhanced with the intelligent integration of cone drivers
capabilities such as various stacking and hanging positions, HF: 2 x 1.4-inch neodymium compression drivers
weather resistance, and integrated DSP with multiple ana- Frequency Response: 70 Hz – 19 kHz
log and digital inputs. Power: Onboard class D amplification; DSP controlled,
While it may be small in stature, the KH2 is more than digital steering
capable of delivering really big sound, making it a solution Rigging: Integrated hardware, adjustable
for a wide-range of medium scale events in stadiums, Size (h x w x d): 9.8 x 25.3 x 8.3 inches
arenas, concert halls and theatres. All components are de- Weight: 62 pounds
signed by K-array and custom-made under the company’s Companion Sub: KS5 (dual 21-inch)
stringent quality control system.

OF NOTE: The KH2 can be used in Dante networks with the addition of the K-Dante interface; in addition to black and white,
systems are also available with custom finishes.

PreSonus WorxAudio V8 Electro-Voice XLD291 JBL Professional V20

commercial.presonus.com electrovoice.com jblpro.com

Configuration: 2-way Configuration: 3-way Configuration: 3-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,
respectively)
Dispersion (h x v): 90 x 10 degrees
LF: 1 x DVN2080 8-inch cone driver
MF: 1 x DVN2080 8-inch cone driver
HF: 2 x ND2S 2-inch compression drivers
Frequency Response: 75 Hz – 18kHz (-3 dB)
Power: External, TG Tour Grade amplifiers
recommended; LF/MF – 200 watts,
HF – 80 watts (both RMS)
Rigging Angles: Integrated hardware,
adjustable
Size (h x w x d): 9.9 x 28.6 x 14.5 inches
Weight: 48 pounds
Companion Sub: Subwoofer: XS212
(12-inch) & XLC215 (15-inch)
Dispersion (h x v): 105 x 0 – 12.5 degrees
(inter-enclosure angles)
LF: 2 x 2261H 10-inch cone drivers
MF: 4 x 2164H 5-inch cone drivers
HF: 3 x D2415K compression drivers
Frequency Response: 60 Hz – 20 kHz
Power: BSS OmniDriveHD V5 processing for
use with Crown I Tech HD or VRack
Rigging: Angle Stop Mechanism (ASM)
suspension allows tension or compres-
sion suspension
Size (h x w x d): 11 x 35.9 x 15.8 inches
Weight: 88 pounds
Companion Sub: S28 (18-inch) and S25
(15-inch)

58 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com

 RWG Spotlight Listing

VUE Acoustic Linearity al-8 | vueaudio.com
The al-8 brings premium perfor-
mance and VUE’s trademark berylli-
um-infused HF to mid-sized portable
and fixed install applications. The
3-way al-8 benefits from advanced
transducer technologies, including
beryllium compression drivers,
Kevlar/neodymium MF transducers,
and large 8-inch LF transducers with
3-inch voice coils for dramatically
less power compression.
The transducers are housed in a birch plywood enclosure that’s
protected by a Dura-Coat LX finish. Integrated flying hardware allows
quick assembly of ground-stacked or flown configurations. VUE’s
Continuous Source Topology (CST) design allows the al-8 to be
seamlessly integrated into a hybrid with other al-Class elements.
An optional al-8sb flyable subwoofer adds low-frequency ex-
tension down to 35 Hz and can be seamlessly integrated into both
flown and ground-stacked arrays. Rear panel I/O includes a pair of
NL8 connectors configured to allow discrete access to each com-
pression driver.
OF NOTE: Continuous Source Topology (CST) allows all of the differ-
ent al-Class elements to be seamlessly combined into hybrid arrays
that optimize sight lines, weight and overall sonic performance.
TECHNOLOGY FOCUS: The al-8 and companion
al-8sb sub are designed for optimal performance
when combined with VUEDrive Systems Engines.
The VUEDrive family is designed specifically to
provide VUE loudspeakers with fully-optimized,
networked DSP and amplification in a 2U rack-
mount chassis. VUEDrive supports analog, digital
(AES) and Dante network audio inputs. SystemVUE
software (iOS, OSX and Windows) provides full
network control of all VUEDrive systems.
KEY SPECIFICATIONS:
Type: 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 berylliumdiaphragm
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)

Bose Professional
Ramsdell Pro Audio LA10-2 Fulcrum Acoustic FL283 ShowMatch DeltaQ
ramsdellproaudio.com fulcrumacoustic.com pro.bose.com

Configuration: 2-way Configuration: 2-way 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)
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 or 70 degrees
(changeable) x choice of 5, 10, or 20
degrees
LF: 2 x 8-inch cone drivers
HF: 4 x EMB2S compression drivers
Frequency Response: 69 Hz – 17 kHz
Power: HF: 100 watts continuous, 400
watts peak; LF: 450 watts continuous,
1,800 watts peak
Rigging: 3-point “quick pin” system, sup-
port for up to 24 modules
Size (h x w x d): 11.1 x 31.2 x 18.3 inches
Weight: N/A
Companion Sub: ShowMatch SMS118

www.ProSoundWeb.com FEBRUARY 2018 LIVE SOUND INTERNATIONAL 59

 REAL WORLD GEAR
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)
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,
continuous RMS)
Rigging: - 0 to 7.5 degrees, 0.125-degree
increments
Size (h x w x d): 9.4 x 29.6 x 23.6 inches
Weight: 75 pounds
Companion Sub: C.D.L. 1815 (cardioid)
60 LIVE SOUND INTERNATIONAL FEBRUARY 2018
FBT MUSE 210LA
fbt.it
Configuration: 2-way
Dispersion (h x v): 90 degrees x
10 degrees
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)
Verity Audio IWAC220P
verityaudioamerica.com
Configuration: 2-way
Dispersion (h x v): 120 degrees; vertical is
array dependent
LF: 2 x 10-inch cone drivers
HF: 2 x 1.75-inch voice coil compression
drivers
Frequency Response: 80 Hz – 20 kHz
Power: Onboard custom 3-channel class
D amplifier, DSP, V-Net network control
Rigging: Integral hardware allows setting
angles on ground
Size (h x w x d): 11.2 x 29.2 x 19.9 inches
Weight: N/A
Companion Sub: SUB136P (dual 18-inch)
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 cardioid)
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 – 16kHz
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)
www.ProSoundWeb.com
These d:voteTM Microphones are off
the chain! I’ve never heard my drums
sound like this before. DPA has me
sold!”
Dennis Chambers

GET CLOSER TO DPA MICROPHONES

Made in Denmark dpamicrophones.com
 NewsBytes THE LATEST NEWS FROM PROSOUNDWEB.COM

Adamson
Systems Big-Time Tech
Engineering
has appointed
In Support Of
Lin Buck to the Garth Brooks
position of
director of sales
On Tour
for the U.S., working as an integral PLAYING 77 CITIES over the
part of the team led by Marc Ber- past three years, the North

CREDIT: BEN KREBS

trand, managing director of Adamson American leg of The Garth
Americas. Specifically, Buck is Brooks World Tour exceeded
collaborating closely with Adamson’s 6.3 million tickets sold.
Partner Network and rep firms to Preparation for the tour
continue driving sales and growing the began in 2014 when Brooks
brand’s profile in both the U.S. touring The Clair Brothers team on the Garth Brooks tour, commissioned a custom
and integration markets. including (left to right) crew chief Pat O’Neill, sound sound reinforcement system
“Our comprehensive strategy for designer/FOH engineer Dan Heins, sound designer/ design from Clair Brothers,
building a long-term, sustainable sales Clair Brothers chief engineer Josh Sadd, and system which put six months of
structure in the Americas fits very engineer Rob Rankin. research and development
well with Lin’s experience, as well engineering into the process.
as his philosophies with respect to The main PA consists of a combination of Clair Brothers i218-M and i212-M line
customer relations and the Adamson array modules and a proprietary central-steered subwoofer array employed for
brand,” Bertrand states. “We’re very high-impact, low-frequency effects, i.e., life-like thunder for the song “The Thunder
pleased to have him aboard, and we Rolls.” All loudspeakers are powered by CB-Lab.gruppen PLM 20K amplifiers, with
expect great results.” the mix by Dan Heins done on a Yamaha RIVAGE PM10 console.
According to Heins, who has served as Brooks’ front of house engineer since 1989,
In late January, “The Clair Brothers PA consistently delivers, sounds great and holds up over the
QSC announced years. Just like Garth.” The effort was also recently recognized with a 2018 TEC Award
that it has sold nomination for Outstanding Creative Achievement for Tour/Event Sound Production.
more than 1
million units of The line includes powered loudspeak- generation K.2 Series and KS Series.
K Family loud- ers, subwoofers and line arrays, And this year will see the market
speakers since the including the K Series, KW Series, KLA introduction of two new K Family
initial launch of the K Series in 2009. Series and the company’s newest models: the KS212C powered cardioid
subwoofer (pictured at left with QSC’s
Stefano Zaccaria has transi- Chris Brouelette at the 2018 Winter
tioned to vice president of sales NAMM show) and the KS112 compact
and marketing at K-array, work- powered subwoofer.
ing closely with president and “When we first set our sights on
co-founder Alessandro Tatini. the loudspeaker category, we knew
Since January 2017, Zaccaria had that we had to deliver a product that
been tasked with reaching long- was notably better than the typical
term goals as strategic sales and offerings of the time,” explains Ray
business development manager. van Straten, QSC senior director of
In addition, Daniel Strasserra marketing for the pro division. “We
has been named a sales engineer, believed then, as we do now, that
based at the company’s headquarters. He joined K-array eight years ago and has pro- delivering a product that demon-
gressively advanced through positions in both the service and sales departments. strates real and tangible benefits to a
Also, Daniele Mochi has been named project manager, and over four years with user, and helps them get consistently
the company, has been assisting clients with system designs for applications such as great results in a professional applica-
Teatro di Habana in Cuba, Vodafone Arena in Turkey and White Nightclub in Dubai. tion, reliably, and with minimal effort,
is a winning formula.”

62 LIVE SOUND INTERNATIONAL FEBRUARY 2018 www.ProSoundWeb.com

 2018 also marks the 50th anni-
versary of QSC’s founding in 1968,
another milestone. A number of
events, activities and key product
introductions will take place during the
year throughout the company’s three
business units.
L-Acoustics has
expanded its
North American
sales team with
the appointment
of Michael
Palmer to the new
post of head of sales. He comes to
L-Acoustics from Allen & Heath, where
he spent the past 11 years helping to
steer the console maker through a
sustained growth period as U.S.
national sales manager, and later as
vice president of sales.
In his new role, Palmer is overseeing
all aspects of sales throughout North
America. Working closely with the man-
ufacturer’s sales managers and regional
sales managers, he also liaises with
L-Acoustics’ installation and touring
applications teams as well as key con-
sultants, contractors and concert/event
production companies.
“L-Acoustics has experienced an
impressive period of growth in North
America in partnership with our
Certified Provider network,” says
L-Acoustics North America CEO
Laurent Vaissié. “We reached the
point where it was crucial to bring
on a dedicated sales leader to guide
our talented sales team and providers
to the next level while we continue
to strengthen logistics, marketing
and applications support for our
clients. Michael represented the right
combination of industry knowledge,
passion, mentorship and result-
driven character that we were looking
for. We’re glad that he joins the team
at this exciting time of growth for
our company and look forward to his
leadership as we reach for our next
milestones.”
www.ProSoundWeb.com
Happy Trails, Peter Janis!
AT THE 2018 WINTER NAMM SHOW and after
almost 42 years in pro audio, Radial Engineer-
ing founder/CEO Peter Janis announced that
he has decided to step down. Established in
1991, Radial was originally developed to provide
a range of cable products, with the release of
the first direct box in 1996, the Radial JDI, just
the beginning. Today the Radial brand family
and distribution network has grown to include
Primacoustic, Tonebone, Reamp, Hafler, Dynaco, Iso-Max and Jensen Transformers.
“It has been an amazing journey, but it is time,” Janis notes in a statement. “I want
to make sure I enjoy retirement while I still can. As you all know, I love to travel and
have many places still to visit on my bucket list!”
Also at NAMM, it was announced that Mike Belitz, president and CEO of Ultimate
Support Systems, has acquired Radial. “I’ve always been passionate about premium
accessories in the music industry. Instruments come in and out of fashion, but
musicians and audio professionals will always need well-designed, high-quality
solutions. Ownership of Ultimate Support Systems and Radial Engineering will offer
incredible possibilities for the future,” Belitz states.
Pat McConnell “We’re pleased to welcome Pat to the
has joined Allen & team. He not only has deep technical
Heath USA as ability, but also firsthand experience of
central regional the region and the skills to push Allen
sales manager, & Heath sales to the next level,” states
where he is Tim Schaeffer, senior VP of Allen &
responsible for Heath USA. LSI
promoting sales growth and strengthen-
ing existing relationships across the ProSoundWeb provides all of
region. He brings more than 25 years of the latest pro audio news, and
sales and music technology experience follow PSW on Facebook and Twitter – just go
to the position, and he’s also a long-time to prosoundweb.com and click on the icons
user of Allen & Heath products. at the top of the page.
FEBRUARY 2018 LIVE SOUND INTERNATIONAL 63
 Back Page
ASK JONAH
Avoiding karaoke mixes
along with CD-R insights.
D
ear Jonah:
I mix a lot of community
events that feature a vocal-
ist singing along to a backing track.
How can I make the mix sound less
like karaoke? — Jim R., Maine
Did you know that “karaoke” is Japanese
for “empty orchestra?” The goal here is to
get the vocal to sit in the track, not on
top of it. Since even relatively basic rigs
are likely to have EQ, compression, and
reverb capabilities, let’s look at what we
can do with these common tools.
We’ll start with EQ — generally my
vocals have a high-pass filter to guard
against pops, and a bit of attenuation
in the 500 Hz to 1 kHz region to reduce
nasal “nasties,” depending on the micro-
phone. (And the singer, of course!) If you
add some gentle boosts around 100 to
200 Hz (fundamental resonance) and 2
to 6 kHz (presence, clarity) — and then
add corresponding cuts to the track in the
same regions, it will help the vocal bed
down comfortably into the track, like my
dog on the couch he’s not supposed to be
on. This is an old trick called complemen-
tary EQ, and it works well.
The next thing I’d do is compress the
vocal a bit more heavily than I otherwise
would. By keeping the signal level more
constant, it’s easier to keep it from “jump-
ing out” of the mix. Plus it’s probably a safe
bet that anyone singing to a track may not
have a ton of experience with mic tech-
nique, so it helps solve two issues at once.
Finally, the reverb. Listen to the track
and try to put the singer in the same
acoustic environment. If it’s a big reverb-
drenched ballad like the theme song from
Titanic, a dry vocal will stick out like a
giraffe. Hit it with a generous 1.5-second
64 LIVE SOUND INTERNATIONAL FEBRUARY 2018
Hall reverb and then leave
the room until the song is
over. (Just kidding.)
If you’re outside, a dry
vocal paired with a dry track
is easier to swallow if you
add some reverb to both.
High-pass the reverb return,
maybe up around 200 Hz, to
get spaciousness without mud.
By the way, if you’re ever given the
unfortunate responsibility of mixing
someone singing along to a full record-
ing, there’s a brute-force trick to cancel
out the recorded lead vocals: sum both
left and right channels to mono with
one side polarity-inverted. This cancels
anything common to both channels —
center-panned content like lead vocals.
Remove low frequencies (below 200 Hz
or so) from one side, and you’ll be able
to save base and kick drum since they
are no longer common to both channels.
Dear Jonah:
My friend is convinced that the blank
CDs designated as “Music CD-R”
sound better than regular CD-R. Is
she right? — Doug R., Georgia
I’m always a bit suspicious when someone
claims that something “sounds better”
but is unable to elaborate. This is a classic
case of the “experimenter-expectancy
effect,” which basically states that our
perception is heavily influenced by what
we’re expecting to occur.
A Music CD-R, properly known as
CD-R-DA (R for recordable, DA for digital
audio), is more expensive than a stan-
dard-issue CD-R. Despite this, the two
formats are physically identical.
Here’s the story: A blank CD-R contains
some information in the pre-groove area
that helps the recorder do things like cal-
ibrate the laser and determine how much
data the disc can hold. A Music CD-R also
contains a Disk Application Code in this
area that identifies it as such. Computer
optical drives don’t care, but stand-alone
consumer CD recorders will refuse to
write to any blank disk missing the code.
This can rear its head at an inopportune
moment if you aren’t “in the know.”
Pre-groove data aside, the actual music
data are bit-for-bit identical, so playback
sounds the same from either format.
Unless you scratch one of them.
So why, then, the increased cost? Well,
there were concerns that CD recorders
would be used to illegally duplicate copy-
righted content, so the extra money is
used to compensate artists represented by
performing rights organizations — BMI,
SESAC, and ASCAP. Guess they didn’t see
the whole Napster thing coming.
Most of the above info can be found in
Principles of Digital Audio by Ken C. Pohl-
mann along with anything else you might
want to know about how CDs work. LSI
Jonah Altrove is a veteran live audio pro-
fessional on a constant quest to discover
more about the craft. Send him your ques-
tions at askjonah@livesoundint.com.
www.ProSoundWeb.com
www.clairbrothers.com

6.4 million
tickets sold.
78 cities.
the
new U.S.
Touring
Record
congratulations to garth brooks and trisha yearwood who have officially sold
more tickets than any other u.s. tour ever!
clair brothers is honored and humbled to have provided
the sound system for this ground breaking tour.
Precision audio performance with an attentive eye towards industrial design.
IS-SERIES is a new range, purpose built for the world of the integration.

It’s all online at www.adamsonsystems.com.