http://slidepdf.com/reader/full/foh-1507 1/64
FRONTOFHOUSE w w w . f o h o n l i n e . c o m w w w . p r o a u d i o s p a c e . c o m
       V      o
In Memoriam: NEXO Speaker Designer Matthias Larrieu
Show Report InfoComm 2015
FOH at Large Production Never Sleeps!
Ju l y 2 01
Days Grace | 3 Doors Down | 30 Seconds to Mars | A Day to Remember | A Perfect Circle | Aaron Carter | Ace of Base | Adam Lambert | A e
ro s
mit h
 | Alice in Chains | Alicia Keys  | Alter Bridge | Alt-J | Amon Amarth | Andre3000 | Animal Collect x | Architecture  in Helinski  | As  I  Lay Dying  | As  Tall as Lions | Ashley Simpson  | Avenged Sevenfold |  Avril  Lavigne | Awolnation  | Backstreet Boys | Barenaked Ladies  | Barry Manilow  | Bassnectar  | Ba
s
 tille   |  e
ck | Bela Fl Joel | Big Time Rush  | Between  the Buried and Me  |  link 182 | Blondfire | Blonde Redhead | Printz Board | Bob Seger | Bon Jovi | Jason Bonham | Boogie Wonder Band | Boot Hill Band | Boston | Bouncing Souls | Bowfire Band  | Boyz II M on and Savannah  | Brandy  | Brian McKnight  | Bring Me The Horizon  | Britney Spears | runo Mars | Buckcherry  | Bullet For My Valentine | Bush | California Breed (Jason Bonham) | Carley Rae Jepsen | Carrie Underwood | Cat Power | CeeLo Gr Woman  |  Charli  XCX  | Cheap  Trick  | Chris  Isaak  | Chevelle  |  her  | Christina Aguilera  |  Cody Simpson | Coheed and Cambria | Counting Crows  | Craig Campbell Band | Creed | Crown The  Empire | The Cult | The Cure | D’Ang
l Powter  | Darius Rucker  | The Darkness  | Daughter  | Daughtry | Dave Koz | Dawes | Def Leppard | Dead by Sunrise | Deftones | Delta Goodrem | The Devil Wears Prada | Dirty Heads | Disturbed | Dixie Chicks | Doobie Brothers | Dragone | Drive  Band  |  Dropkick Murphys  |  Earth Wind  and  Fire  |  Edward Sharpe  and The  Magnetic Zeros | Ellie Goulding |  Englebert Humperdinck |
E
ne m
  | Evanescence | Fall Out Boy | Falling In Reverse | Fe Apple  |  Five  Finger Death  Punch  |  Florence  and  The Machine  |
F
  Fi g
hter s
  | The Fray | f
un.  | Frederic  Yonne | Garbage | Glass Tiger | Glen Campbell Ba er Smith  | Godsmack  | Goldy Locks Band  | Goo Goo Dolls  | Garth rooks  | Gavin DeGraw | Great White | Grouplove | Guns N’ Roses | Gypsy & The Cat | Halford | Heart | Here Come The Mummies | The High Kings | Him Band | Hind
wood Undead  | Hoobastank  | Hootie  The Blowfish | Hope | Hot Water Music | Icona Pop | Imagine Dragons | Iggy Azalea | In Fear and Faith | In This Moment | Ingrid Michaelson | Interpol | Inxs | Iration | Iron Maiden | Jack Johnson | Jake Ow Jackson  |  Jared  The Mill  |  Jennifer  Hudson  |  Jennifer  Lopez  | Jennifer Nettles Band | John Grant Band | John  Mayer | JoJo | Josh Groban | Jimmy Buffet  | Journey | Justin  Timberlake  | The  Joy Formidable |  Judas  Pri glesias | Junior Doctor | Keith Sweat | Keely Myers | The Killers | Katy Perry | Keith Urban | Kip Moore | Kiss | The Kni fe | Kool & The Gang | Kenny Chesney | Korn | Lady Gaga | Lana Del Rey | Lauryn Hill | Lawson Band | Lenny Krav
ayne | Limp Bizkit | Local Natives | Little Hurricane | LMFAO | Linkin Park | Lionel Richie  | Machine Head | Macklemore | Macy Gray | Marc Anthony | Mariah Carey | Marilyn Manson | Marina and the Diamonds | Maroon 5 | Mary J Bl odon  | Maximo  Park | Maxwell  | Meat Loaf | Megadeth   | Mel B | Melissa Etheridge | Micapella Band | Michael Franti & Spearhead | Miley Cyrus | Mindless Behavior | Miranda Lambert | Miss May I | The Molly Ringwalds | The Monke gomery Gentry | Moody Blues | Morrissey | Motley Crue | My Chemical Romance | Nas | Neon Trees | New Edition | Nickelback | Nico Vega | Nine Inch Nails | NKOTB | No Doubt | Oasis | Of Mice and Men | Olly Murs | Owl City | Ozzy Osbou Roach  | Pennywise | Peter Frampton  | Peter Gabriel | Petshop Boys | Phantogram | Pharrell Williams | Phillip Phillips | Phish | Phoenix | The Phunky Monkeys | Pink  | Pitbull | Pop E vil | The Pixies | Queens of the Stone Age | Rebelut ne Chemistry | The Revitalists | Rico Love | Rise Against | Rita Ora Band | Rihanna | Roger Waters | Rolling Stones | Saliva | Santigold | Scissor Sisters | Scorpion | Selena Gomez Sevendust | Shakira | Shinedown | Slipknot | Smashing Pumpk cent | Steely Dan | Sting | Stone Roses | Stone Temple Pilots | Sum 41 | System of a Down | T Pa in | Tame Impala | Tears for Fears 
ious D | Testament | The Used | The Wanted | The Weeknd | The Who | The Wombats | Three Days Grace | Thrillist | Tim McGraw land | Tool  | Trace Adkins  | Train  | Travis Tritt  | Trisha Yearwood | Trivium | Vampire Weekend |
Va
n H
alen | We Are The Fallen er | Whitesnake  |  Wild  Beasts  |  Young  Guns |  Young  the Giant | Youth Lagoon | Zac Brown Band Great Artists, Legenda ry IEM Harvey Audio combines over 30 years experience in live audio mixing with over 20 years of designing and building in-ear monitors for some of the most demanding ears on the pla
www.jhau dio.co m | ©2015 Jerry Harvey
7
5
5
ChesneyChesney The Big Revival Tour
  i n s i d e t h i s m o n t h
Whirlwind's Solutions for Real Tim Monitoring of PowCOVER PHOTO BY BRIAN PETERSEN
8/20/2019 FOH 1507
DPS Corporate provides state-of-the-art event solutions and design ideation
from small-scale corporate meetings to venue sized conferences, trade shows
and events. Learn why global brand names such as  Audi, Volkswagen, Tesla
Supercharger, Nike, Verizon, MTV, State Farm, and Samsung  trust DPS Corporate
for all of their tradeshow needs. Let our complete scenic design and fabrication
team create high impact, audience engaging, immersive environments for your
next corporate event or tradeshow. No matter what you dream up, DPS Corporate
has your back.
NEW YORK
DPSINC.com/corporate
CL and QL Series features a variety of
upgrades making our family of digital mixing
consoles more efficient than ever.
This next step up includes an 8-band Parametric
EQ Option with Notch Filters, Real Time Analyzer
Function, 4 User Defined Key Banks, Surround Sound
Panning and Monitoring and so much more.
Perhaps most notable is the addition of the
Dan Dugan Automatic Mic Mixer for the CL Series.
Already included in the QL Series, gain distribution
for up to 16 speech microphone channels is
automatically optimized in real time, achieving
smooth, natural level control.
For a complete list of features and to download the
software free-of-charge, visit www.yamahaca.com.
CL1
CL3 
CL5 
QL1
QL5 
 Yamaha Corporation of America • P. O. Box 6600, Buena Park, CA 90620-6600 • ©2015 Yamaha Corporation of America
8/20/2019 FOH 1507
http://slidepdf.com/reader/full/foh-1507 4/642 JULY 2015 •  fohonline.com
22 Show Report: Product Hits of InfoComm InfoComm 2015 offers dozens of slick new debuts for the live audio pro and FRONT of HOUSE  bring you all the details.
36 Production Profile: Kenny Chesney Big, big shows are back, as Kenny Chesney’s The Big Revival  tour takes the band, Morris Light and Sound and crew on a grueling 57-stop outing, with 18 sta- dium dates.
42 Regional Slants: Spider Ranch We go behind the scenes with a SF Bay Area sound- co that’s becoming a major force in the festival/con- cert/corporate market, handling all 13 stages of last month’s massive SF Pride Festival, which attracted
1.2 million people, for example.
44 Buyer’s Guide: Personal Monitor Mixers A look at new hardware-based systems that let mu- sicians control their own monitor mixes.
46 Tech Feature: The RoHS Issue Phil Graham covers the European Union ‘s Restric- tion of Hazardous Substances Directive, which has audio and electronics manufacturers searching for new soldering substances.
48 Tips & Tricks: The Ferrite Solution Alex Milne offers a simple, inexpensive solution for keeping those nasty clicks and buzzes of cell phone hash out of your wireless mics and IEM’s.
52 Tech Spotlight: Clair Brothers kiT We look into Clair’s expanded kiT series of speakers, which now include active designs with onboard am- plification, powerful DSP and a few other surprises.
53 Road Test: JBL SRX835P JJ Jenkins puts JBL’s new three-way speakers (with built-in Crown DriveCore Technology, onboard DSP and versatile Wi-Fi control) out for a spin.
54 Tech Spotlight: Whirlwind PL-PM1RJ  This new power monitoring system allows remote checking via LAN or Wi-Fi, for real-time AC distro monitoring from any location.
55 Digital Edge: Morning, Noon and Night David Morgan deals with 1:00 a.m. load-ins and 6:00 a.m. calls during a hectic week of promo shows and broadcast appearances promoting James Taylor’s new CD release.
56 The Biz: Revisiting the Rooftop Concert Dan Daley looks at the growing trend of live roof- top concerts and streams by record labels and art- ists seeking to expand their reach.
57 Theory & Practice: Wireless Tips That Work! Steve La Cerra offers some tricks to maximize the performance of your RF microphones, instrument and IEM systems.
58 Sound Sanctuary: The Broadcast Factor Vincent Lepore delves into the topic of the grow- ing need to supply both FOH and broadcast mixes in the church environment.
60 FOH at Large: Production Never Sleeps! Baker Lee reminds it’s always something, so pro- duction never sleeps!
fohonline.com
JULY 
2015
Columns
Features
40
INSTALLATIONS
Virginia Tech’s “Cube” is an immersive 3-D audio environment with a 134- channel surround system.
50
CONTENTS
  COMPANY 411: KV2
A rare inside look at the current and future plans for this European technology company.
Departments
THANKS TO ALL-NEW SOFTWARE!
 North Hollywood CA 91615
FRONT Of HOUSE (ISSN 1549-831X) Volume 13, Number 10, July 2015, is published monthly by Timeless Communications Corp., 6000 South Eastern
Ave., Suite 14J, Las Vegas, NV 89119. Periodicals Postage Paid at Las Vegas, NV and additional mailing o ces. POSTMASTE R: Send all UA A to CFS.
NON-POSTAL AND MILITARY FACILI TIES: send addres s correction s to FRONT Of HOUSE, PO. Box 16655, North Ho llywood, CA 91615-6147. Front
Of House is distributed free to qualified individuals in the live sound industry in the United States and Canada. Mailed in Canada under Publications
Mail Agreement Number 40033037, 1415 Janette Ave., Windsor ON N8X 1Z1. Overseas subscriptions are available and can be obtained by calling
702.932.5585. Editorial submissions are encouraged, but will not be returned. All Rights Reserved. Duplication, transmission by any method of this
publication is strictly prohibited without the permissi on of FRONT Of HOUSE.
Business, Editorial & Advertising O ce
6000 South Eastern Ave. Suite 14J
Las Vegas NV 89119
Ph: 702.932.5585 Fax: 702.554.5340
8/20/2019 FOH 1507
EDITOR’SNOTE
By 
GeorgePetersen
Catch George’s editorial commentary at fohonline.com/  foh-tv or click on the picture from your digital edition.
I  just flew in from
the InfoComm
uct picks starting on page 22. But I’m not
much of a fan of the show. Actually, I really
like InfoComm and I even like Orlando, but
the combination of both in mid-June is a rec-
ipe for disaster. The weather is bad. Sure, Las Vegas (where the show alternates) is also hot,
but at least it’s not humid, and when the hu-
midity rises, it rains.
down due to Orlando’s frequent thunder-
storms. That happened to me and thousands
of fellow travelers (seemingly half of the In-
foComm attendees) who endured a three-
hour departure delay after the show, many
stuck on the tarmac for hours. The bad part?
As Orlando isn’t a hub to anywhere, with few
non-stop flights, many passengers wound up
stranded as a result of the rain delays.
We can’t entirely blame Orlando for that.
Yet with nearly every hotel, restaurant and
summer flight packed with screaming kids
headed to/from a Disney vacation and traf-
fic jams that make L.A. seem uncrowded, the
town gets on your nerves after a few days.
If you overlook the logistical malaise of
mid-June Orlando, the show was great. How-
ever, within the convention center, there
were some ironic hitches, especially for an
organization representing information com-
show, signage pointing to the audio demo
rooms in the lower level labyrinth was severe-
ly lacking, and it was equally bad this time
around. And after queries to onsite personnel
and searching the show’s iPhone app, printed
Show Guide and InfoComm website, I could
not ascertain the location of the airport shut-
tles. The secret was finally revealed to me by
a baggage check worker, who was surprised
that she seemed to be the only person en-
trusted with such knowledge.
ii The Good Live
However, once within the audio section
of the show (it’s set off by red carpeting that
warns digital signage attendees to stay clear
of the area), it’s evident that the sound rein-
forcement/install industries are doing fine.
On the audio side, there were 300+ exhibitors
and more than 20 demo rooms. I ran into a
friend who’s a representative of the AES, and
he was impressed by the scope of the exhibit
floor. Certainly, there were days in the not-
too-distant past when AES had that kind ofsupport. While AES has made some inroads
towards regaining the participation it once
had from the live community, it truly pales in
comparison to the scale of this exhibition fo-
cused solely on live/installed audio.
ii Live? Yes. Vintage? No.
One major reason for the health of the live
market comes from this simple truth: “There
is no such thing as vintage live.” While many
in the recording community recording pine
for the gear of yesteryear, no one working
in live dreams of doing a gig on a PM1000,
a couple DC300’s and a stack of Altec A-7’s.
 That reality is reflected in the large-format
console market, where a glut of used studio
consoles exist, with many at bargain prices.
Consequently, the market for new recording
boards has shrunk considerably, while nearly
20 large live sound consoles have come out in
the past couple years.
 There’s nothing easy about the live envi-
ronment. Consider a recording mic. The studio
engineer gently removes it from a velvet-lined
box in the vault, carefully places it during the
session and later, it’s tucked back to bed for
the night. Its life span could be 30 years or
more. Not so for a mic on a live date. These
are used, abused, slammed, dropped and
chopped, and the chance they’ll succumb to
old-age (rather than some freakish accident)is about zero. These go out, get destroyed
and then replaced. In fact, with wireless sys-
tem rentals, most suppliers will not even rent
miniature headworn mics — these are simply
treated as purchased expendables.
cables and anything else in the signal chain,
especially consoles. Live mixers — both the
gear and the operator — get a lot more use
and abuse than their recording counterparts,
where night after night, nearly every knob on
that board is given a workout, while less than
a dozen console controls may even be used
on a typical studio overdub session. And once
the word “forklift” is combined with any piece
of gear (this rarely applies in the studio), all
long-term longevity bets are off.
ii The Secret of Live
 There you have it : “The Secret of Live” —
revealed to the world. So it is that same prin-
ciple fuels the health of the industry and is re -
flected in other aspects as well. For example,
a typical house of worship installation from a
couple decades back could get by with a cou-
ple old-school line radiator columns, either
Shure Vocal-Masters, or some vinyl-clad, wal-
nut-finished boxes with a Realistic logo (or
knockoffs of either) — driven by a four-input
Bogen mixer/amp. These days, that rig ain’t
gonna cut it, as more and more installations
— both sacred or secular — want a system
capable of delivering high SPL’s, lots of inputs
and sophisticated monitoring.
hearty and offers optimistic prospects well
into the future, whether in terms of product
development, equipment sales, installations
support and make all this technology hap-
pen. Besides, I’m already looking forward to
InfoComm 2016, which just happens to be in
Las Vegas — my kinda town.
Got a comment? Send George an email to
george@fohonline.com.
WEST PALM BEACH, FL — For her first
major concert tour, “Endless Summer,” Lana Del
Rey hit the road in support of her third studio
album, Ultraviolence, performing alongside
Escondido, CA-based Sound Image provid-
ed an L-Acoustics K1 main loudspeaker system
and K2 outfill arrays in wider venues as the tour
made its way through the America and Canada
from early May to mid-June.
“This is my first time touring with K1, K2 and
Kara, and I’m having a wonderful time with it,”
said Max Bisgrove, Del Rey’s FOH engineer.
“It gives me superb vocal clarity, headroom in
spades, excellent coverage and packs a serious
punch when called for.”
tour was the amount of low-end on the stage.
“Lana is a very discreet vocalist, very
self-conscious about how she approaches a
microphone,” said Price. “What we wanted to do
was keep the low end around her, but nowhere
near overpowering, to give her a lot of space on
stage, yet keep plenty of bass out there in the
audience.”
K1-SB subs with the main hangs and time-align-
ing them to push the low-end from the hangs
out to the sides and rear of the sheds the tour
is visiting. The muscular setup of SB28s stacked
onstage in a cardioid configuration gives the
sound the low punch it needs, keeping it in the
crowd and off the stage, leaving Del Rey’s voice
plenty of room to sigh and soar.
“It was a challenge,” Price added. “With
Lana’s voice being so velvety, Max had to
keep the gain pretty hot, which could create
feedback problems, even with in-ear moni-
tors, because her microphone will usually be
down in front on stage. He attenuated a few
critical frequencies to compensate, but it was
really the PA system that makes it happen.
“The K1 is an amazingly sensitive and in-
credibly musical loudspeaker,” Price contin-
ued. “I don’t think there’s another loudspeak-
er that could work as well with an artist like
Lana.”
  LAS VEGAS — By late June, more than 30 sponsoring companies announced their support for the 15th Annual Parnelli Awards, set for Oct.
24 at the Rio Hotel & Casino in Las Vegas. The event will bestow Lifetime
Achievement, Visionary and Audio Innovator honors to Chris Lamb, Da-
vid Cunningham and Pat Quilter.
 This year’s Platinum
sponsoring the awards
CM Hoists, Elation Professional, Gallagher Staging & Productions/Tour-
Ready, Global Trend Productions (Oracle Systems), Harman Group (AKG,
BSS, Crown, dbx, JBL, Martin Professional, Soundcraft/Studer), Martin
Audio, Maryland Sound International, Meyer Sound, Moo TV, Philips En-
tertainment, PixelFLEX, Pyrotek Special Effects, Rock-it Cargo, Solotech,
Sound Image, Stageline Mobile Stage Inc., Stagemaker, Strictly FX, Tour  Tech East and Ultratec Special Effects.
Silver Sponsors include Delicate Productions Inc., Hemphill Brothers,
Hoist Rigging Solutions, Le Maitre and Screenworks NEP. Beachsound,
Chauvet Professional, ETC, QSC and See Factor have signed on to be
Cocktail Party sponsors, and Precise Corporate Staging is the 2015 After
Party sponsor.
Production Partners are all returning to guarantee another great
show, and they include Access Event Solutions, Atomic Design, On Stage
Audio (OSA), Production Resource Group (PRG), SGA Production Ser-
vices, Stage Crew and Technical Productions Inc. (TPI).
“Every year we are truly humbled by the support,” said publisher and
Parnelli Awards executive producer and FRONT of HOUSE publisher Terry
Lowe, noting that a portion of the proceeds goes to award scholarships
to the University of Nevada, Las Vegas’ (UNLV) Entertainment Engineer-
ing & Design program. “The generous support of our sponsors allows for
the education and flourishing of future Parnelli winners and innovators.”
To support the Parnelli and Awards and become a sponsor, contact Greg
Gallardo at 702/454-8550 or gregg@fohonline.com. For more on the Parnelli
 Awards, go to parnelliawards.com.
Close to 500 Injured at Taiwan Water Park Concert when Colored Powder Ignites
  NEW TAIPEI CITY, Taiwan  —
der being thrown on them in fun by
event organizers Color Play Asia ignited
in an explosive flash of flame. The pow-
der ignited at about 8:30 p.m.
Local authorities revised the initial
tally of 519 injured at the Formosa Fun
Coast water park event to 498 after
BASSNECTAR ROCKS RED ROCKS
the test in difficult venue, Page 10
BUSY DAYS FOR MARYLAND SOUND
Back-to-back major events in Miami, FL
and Washington, DC, Page 14
JAZZed Magazine Introduces
New Website, JazzFestivals
launched JazzFestivalsWorldwide.com,
the world.
Every fes-
o r g a n i z e r s
are allowed to update data and add
information about their festivals free
of charge. They can list performance
schedules, post pictures of the festival,
include their logos and display videos
associated with their festivals.
  DES MOINES, IA — The River
Bank Bash concert set for June 27 in
Des Moines was canceled due to flood-
ing. The one-day event was expected
to draw as many as 20,000 to see Eric
Church, Travis Tritt and others; the first
first big country music event at the
riverfront Water Works Park since the
annual Big Country Bash completed its
run there from 2006 to 2011.
Organizers had been seeking an al-
ternate site in Des Moines, according
to local reports, but they were unable
to locate a site where the ground was
firm enough to safely support the large
stage, lighting, video and sound pro- duction planned for the event.
Sound Image Supports Lana Del
Rey “Endless Summer” Tour
More than 30 Sponsors Step Up to Support 2015 Parnelli Awards
“I do not plan on ever mixing another gig without my 1964 Ears” – James Berry (Beyoncé, monitor engineer) www.1964ears.com
/i ÜÀ`½Ã wÀÃÌ] >` Þ] «>ÌiÌi` i>À ÌiV}Þ Ì>Ì Ã>viÞ iÛiÀà > Õ`iÀ] Ài ë>VÕà >` ÀViÀ ÃÕ` > Üi â} Ìi Àà v i>À} Ãð
Introducing the revolutionary
ud user of 12 model      V
to Courtesy of Max Crace
Sound Image provided L-Acoustics gear.
Pat Quilter, Chris Lamb and David Cunningham
continued on page 8
L-R: Tarik Khan, Max Bisgrove, Bill Price, Kyle Turk, Simon Lawson
8/20/2019 FOH 1507
T
thing, it gives you a medium to engage in
discussions with others when you have an
important topic on your mind that you feel is
beneficial to share with others. Through the
years, when I have penned a publisher’s note,
it has always been about something in our
industry. However, this time I am going off-
script. I want to chat with you about an orga-
nization I have become aware of that is doing
very good work for sick children around the
country that you might want to know about.
Just down the street from our headquar-
ters is the o ce for Miracle Flights for Kids.
As the name implies, the organization is
dedicated to providing families with lim-
ited financial resources transportation for
their children when they are in need of out-
of-state medical care. Perhaps you have
heard of Miracle Flights for Kids, but if not,
here is a little 411 on them.
Miracle Flights was founded in 1985
by Ann McGee. As with any organization,
it had humble beginnings. Utilizing pri-
vate planes and pilots, if Miracle Flights
had three flights a month, it was a busy
month. However, as the years passed and
funding grew, Miracle Flights was able to
start using commercial airlines. Today, Mir-
acle Flights now provides up to 600 flights
per month for in-need children and their
families. In fact, Miracle Flights has coor-
dinated more than 90,000 flights and 50
million miles of medical air travel through
the years. Obviously, this is an organiza-
tion that is making a major difference in
people’s lives.
his experience with Miracle Flights: “Mir-
acle Flights helped my wife and me take
our three-year-old son to Cincinnati Chil-
dren’s Medical Center for his Eosinophilic
Disorder and also for his hyper-mobility of
joints. We live in Southern Utah and from
the past four years of medical expenses
with our son, it has drained our financial
resources. But with the help of Miracle
Flights we were able to see the best doc-
tors in the country to help our son.” There
are thousands of stories just like Lance’s.
Miracle Flights is helping change lives on
a daily basis.
cle Flights is that it is not just a one-and-
done deal. Miracle Flights will be there for
its recipients throughout the treatment
process. As Josie Castro explains, “Our five
year old son Christian has short bowel
syndrome and autism. Our son partici-
pates in the Omegaven clinical study at
Boston Children’s Hospital. A medical
team closely monitors my son’s chronic
medical condition, which requires us to
fly to Boston every two months. I have
lost track of how many times Miracle
Flights has flown my son and me to Bos-
ton, but I can assure you that with every
medical visit, he has continued to thrive.
Miracle Flights has always been there for
us and has taken the fi nancial burden off
our family.”
One, if you have the means, there is not
a better organization to make a donation
to than Miracle Flights. Here in 2015, they
have been awarded a “Top Rated Nonprof-
it” by Great Nonprofits, an industry watch-
dog organization (www.greatnonprofits.
quin organization (www.harlequinmore-
goes on and on, including from CNN,
People  Magazine, and President George
H. W. Bush’s 1,000 Points of Light Founda-
tion. For a full list of the accolades Miracle
Flights have received go to: www.miracle-
flights.org/about-us/accolades/
www.miracleflights.org/become-a-mir-
contribution to the organization.
in getting a child to an out of state hos-
pital or medical institute, reach out to
Miracle Flights for Kids. They are there to
help. You can start the process by going
to: www.miracleflights.org/how-we-help/
we change the subject from our intended
purpose. However, this is an organization I
thought all of you might want to be aware
in case you are someone you know might
be in-need, or if the spirit strikes you, may
wish to help these Miracle Flights possible
by making a donation.
I hope you and your family are never in
need of their services, but if you are...
Reach FRONT of HOUSE publisher Terry
Lowe at tlowe@fohonline com
®
We are more than just connectors.
We put 40 years of experience and our passion into our products. The etherCON Series
is a ruggedized and lockable RJ45 connector system, optimized for pro audio, video and
lighting network applications.
By 
  PLAILLY, France — NEXO loudspeaker designer Matthi-
as Larrieu, 30, was killed in a car accident in early June. Larrieu
 joined NEXO in September of 2008 was a major contributor to
systems such as company’s flagship STM Series modular line
array.
Larrieu had studied electroacoustics and environmental
acoustics at IUT d ’Angoulême, as well as the Université de Technologie de Compiègne, where
he received his degree in mechanical engineering with a specialty in acoustics. During his sev-
en years at NEXO, he served as a core member of the design team on the STM Series modular
line array and was also instrumental in the development of other NEXO products, notably the45-degree N-12 inline stage monitor and the company’s RS sub-bass cabinets. His last project
for NEXO was the STM M28 compact line array.
Aaron Dilks Aaron “Double A” Dilks, who worked as a tour manager, audio engineer and security guard
for Anthrax, Hellyeah, Fear Factory, Soul SirkUS, Sevendust, Journey and other bands along
with Marilyn Manson and Cee Lo Green, died June 7.
Dilks, who joined the touring industry after finishing high school in Delaware in the mid-
1980s, was remembered as “a wonderful man, we all cared greatly about him, and he mad e the
band sound like a monster,” noted Anthrax on its Facebook page.
In Memoriam:
Matthias Larrieu
American arena tour, New Kids on the Block
(NKOTB) and opening acts TLC and Nelly were
heard through an in-the-round Meyer Sound
LYON linear sound reinforcement system.
Chosen by veteran FOH engineer Kevin
Elson and supplied by VER Tour Sound, LYON
simplified the setup and delivered pristine,
even coverage for every stop on the band’s
46-show “The Main Event” tour while elimi-
nating the need for delays.
“In these large hockey arenas, LYON has
allowed us to throw 180 feet to the back
seats, and still wrap down nearly to the front
of the stage,” said Elson, whose prior touring
credits include Journey, Van Morrison, and
Michael Jackson. “Unlike previous tours, we
haven’t had to tie into the house delays for the extreme back seats. This usually compro-
mised quality, and getting the delays set was
a time -consuming process.”
hangs of 16-each LYON linear line array loud-
speakers and four hangs of six-each 1100-LFC
low-frequency control elements arranged
UPM-1P loudspeakers were deployed for
stage-side VIP seating, and a Galileo Callisto
loudspeaker management system with eight
Galileo Callisto 616 and two Galileo Callisto
616 AES array processors supplies drive and
optimization. The system was part of a com-
plete package of audio, video, and lighting
technologies provided by VER Tour Sound
under the leadership of Ralph Mastrangelo.
Elson mixed behind an Avid VENUE Profile
digital console with Waves and Bomb Factory
plug-ins. Vocal microphones included Shure
wireless with SM-58 capsules, run through
Empirical Labs Fatso Jr. processors. Monitors
were mixed on a DiGiCo SD5 digital console.
 The production team included tour man-
ager Dave Brown, production manager Chris
Roberts, production assistant Kris Martinez,
stage manager Paul Lovell Butt, lead rigger
Knuckles, system engineer and audio crew chief Dre St. Pierre, monitor mixer Chris Light-
cap, monitor engineer Kyle Fletcher, and PA
techs Matt Fox, Ruben Aguirre, and David
“Detroit” Klann.
Sound. “The coverage was exactly the same
everywhere—top to bottom and horizontally
across. Everybody in the venue gets the same
experience. I think this system will set the
new audio standard for in-the-round tours.”
VER Tour Sound Backs “The Main Event”
for New Kids on the Block Tour
8/20/2019 FOH 1507
INDUSTRY NEWS
From. To.
Spanning from performing arts to conferences, religious events and live shows, a Series which can do everything, versatile as it is: running unaccompanied as the main reinforcement system, or for instance, alongside the larger V-Series as infills, outfills and point source nearfills.
From. To. In the very best sense: the d&b Y-Series.
    w     w     w  .      d
noting that some of the injured, trans-
ferred for treatment to different hospi-
tals, had been double-counted. Reports
noted that the injured, currently being
treated at 43 area hospitals, included
202 who were listed in critical condition,
many with respiratory injuries as well as
severe skin burns.
lighting fixtures make have played a role
in the conflagration of the airborne par-
ticulates, but investigators are reported-
ly now looking at other possible sources
of ignition as well.
is usually made from a food starch and
food-grade coloring agents, normally
But like many powders, food starch-
es can become explosively flammable
if high concentrations of tiny airborneparticulates come into contact with
both oxygenated air and a spark or open
flame.
water park, banned the use of colored
powders at all subsequent public events
and detained five people connected
with the event, including Color Play Asia
event manager Lu Chung-chi.
dedicated to jazz festivals on the web,”
said  JAZZed and  FRONT of HOUSE   pub-
lisher Terry Lowe. “We invested a lot of
resources in aggregating in one location
as many jazz festivals as we could pos-
sibly find. This allows users to search for
festivals by city, state, region, country,
and dates of festivals.”
1,270 international jazz festivals listings
on the site, with events staged in 51 dif-
ferent countries.
JazzFestivalsWorldwide.com also fea- tures jazz festival news and record re-
views, and site visitors can sign up for a
bi-monthly newsletter.
for jazz enthusiasts to stay current on
the latest concert opportunities, as well
as the latest releases,” Lowe noted.
Visit JazzFestivalsWorldwide.com.
Close to 500 Injured at Taiwan Water Park Concert when Colored Powder Ignites
JAZZed  Magazine Introduces
New Website, JazzFestivals
as the TM18 on page 34 of the June
issue, should have been identified as
the M18.
Sound, headquartered in Ohio, with offices
in the U.K. and Australia, has announced
that more than 200 Adamson E-Series
loudspeakers will be joining its inventory to
help ensure system availability worldwide.
Eighth Day Sound acquired one of the
first E15 line array systems in 2013, which
was immediately put into use by a number
of national and regional tours. “Since then,
we’ve worked closely with their engineer-
ing and marketing teams to refine a pack- age that ensures the highest performance,
service, and efficiencies for our clients,” said
Sean Sturge, Eighth Day Sound’s global
sales manager.
“Every engineer that has been in front of this
system agrees that it’s one of the best they’ve
ever heard,” added Owen Orzak, Eighth Day
Sound’s director of touring services. “The Ad-
amson package is extremely flexible — able to
handle any configuration necessary.”
Australian offices. The company planned
to first deploy the new PA for the Hot 97
Summer Jam at Metlife Stadium in early
June.
outside of our industry would envy,” add-
ed James Oliver, Adamson’s director of
marketing and sales. “They have a staff  that is passionate for their craft and ful-
ly immersed in the selection process for
new equipment. To have our product
available wherever Eighth Day does business
is something we’re excited to be a part of, and
we’re looking forward to a long and success-
ful partnership.”
Eighth Day Sound Expands Inventory
 From left, with Adamson gear, are Eighth Day Sound’s Owen Orzack, C.W.
Alkire, Danny Klocker, Brandon Goldstein and Andy Morrison.
8/20/2019 FOH 1507
INDUSTRY NEWS
MORRISON, CO — DJ and record pro-
ducer Bassnectar recently performed to sold-
out crowds during three shows at the Red
Rocks Amphitheater. Camarillo, CA-
door venue.
system would contain the sound to
the seating area while keeping within
venue noise guidelines. Last year the
band was fined for violating the noise
ordinance. It was extremely importantthat it not happen again.
“I did the House of Blues event for
EAW when they first introduced Anya
and kind of fell in love with it then,”
said Decter. “Since then, [Robert]
Scovill has taken it out with [Tom] Petty
and [Jim] Ebdon used it for Maroon 5 — all
with great success. Red Rocks is a challeng-
ing environment. I knew the system could
blanket the seating area and drop off where
required and sound better than any other
system out there.”
erick and Rat Sound’s Jason Brandt, to de-
sign the system using EAW Resolution soft-
ware. They modeled the venue, loaded the
system in and had the first show the same
day. “It went up super-fast,” Decter added.“The 18-cabinet Anya arrays were the larg-
est assembled columns to date — and it
sounded fantastic. We shaded it down at
the top and it was perfec t.”
In addition to the 36 Anya modules, six
EAW KF364NT enclosures were placed along
the lip of the stage for front fill.
“We were right at the SPL limits at the mi-
crophone, louder in the audience area and
actually way below the limit outside the ven-
ue,” Decter noted. “That just proves how well
Anya truly contains sound.”
day event. The first day was rainy and windy,
day two was a beautiful 86 degrees and the
third was a mix of rain, wind and sunshine.
“The system stayed the same for every
performance,” Decter added. “The rig al-most defies gravity, with the sound staying
put exactly where you want it — no matter
what the weather is like. The place was sold
out every night, and everyone in the venue
had nothing but positive things to say and
we didn’t hear a peep from the neighbors
— exactly what we were looking for.”
 EAW Anya line arrays served
capacity crowds over a three-
night span.
Deutsche Gründerpreis 2015 (Ger-man Founders Award) in the Life-
time Achievement category for his
many years of service as head of
Sennheiser Electronic. The honor is
Germany’s most prestigious award
for entrepreneurs.
 Technol ogy, Jörg joine d the com-
pany founded by his father Fritz
Sennheiser as technical director in
1976. In 1982, he took over com-
plete responsibility for the compa-
ny, and as CEO, he modernized the
structures of the company and es-
tablished its own sales subsidiaries,
paving its way for efficiently com-
peting in the world market. Now 70 years old, Jörg remained
as chairman of the board until De-
cember 2014. Today, he is still an
active board member and contin-
ues to give lectures and has been
advising young acoustics special-
 Technol ogy.
came as “a real surprise,” Jörg said.
“It is a great honor for me to see that
the pursuit of perfect sound, which
has accompanied me throughout
with this award.”
Dr. Jörg Sennheiser
Dr. Jörg Sennheiser
powerful digital mixing that’s completely  
controlled wirelessly — MIX FREE.
ANYWHERE FROM
Master Fader: Intuitive wireless control over everything, proven at more than 2 million live mixes
01
02
03
04
05
Hardware: Flexible, professional I/O in an incredibly compact 3U rackmount design
Wireless: From mic pre gain to control over multi-track recording and playback
Recording/Playback: Complete wireless control over multi-track direct-to-drive recording and playback
DSP: Powerful processing on all inputs and outputs that replaces racks of outboard gear 
iPad is a registered trademark of Apple Inc., registered in the U.S. and other countries. ©2014 LOUD Technologies Inc. All rights reserved.Wireless router and iPad required for operation (not included).
     H    e    y      M    a    r   s    e     i     l     l   e    s  .
     N    e   c     t   a    r      L    o    u    n     g    e  .
     S    e    a     t    t     l   e  ,
     W      A  .
INDUSTRY NEWS
you think about loudspeaker systems forever.
Coda Audio making music more enjoyable
- Patented Dual Diaphragm Planar-wave-driver
Audio Inc. Gears Up for Lincoln Center Summer Series
ROSELLE PARK, NJ — Audio Inc. re-
cently added a new NEXO STM line array
system to their audio rental arsenal, and
more specifically,
system because the venue has specific
requirements including a very well con-
trolled coverage pattern to produce the
minimum of SPL outside the defined area
of Damrosch Park and the 5,000 capacity
audience,” said Mike Sinclair, co-owner,
Audio Inc.
saw the NEXO STM system at a 2012 InfoComm
Show. They later heard a large format version
of the rig at a Kenny Chesney show and were
very impressed, but still had not considered itfor their needs.
“At last year’s InfoComm, Yamaha played an
STM system comprised of one sub, one mid-
and one high box,” Sinclair said. “We listened
and realized what the term Scale Through
Modularity (STM) really meant. It was a total
surprise to us that the system was viable in
such a small configuration. There is no other
large-format line array system where one cabi-
net can work as a small sound system, yet here
we were listening to the functional equivalent
of one line array element and one-half of a
subwoofer cabinet. Not only did it sound good
as a big system, it sounded good as a small sys-
tem as well.”
tion for the Lincoln Center Concert Series’ con-
sists of four per side STM-M46 main mid-highfrequency boxes, four per side STM-B112 bass
boxes to hang alongside each M46, two per
side STM-M28 Omni purpose full range boxes,
four per side STM-B118 subwoofers, four NX-
NUAR-DTs and a NXNUAR1 (NEXO Universal
Amp Rack), along with powering, metering,
output patching, AC distribution racks, and
two NXDT104 Dante networking cards.
A Yamaha CL5 console is used at FOH for
the Concert Series with a Rio1608-D and two
Rio3224-D I/O boxes on stage. “The signal path
is Dante from console the NEXO amps,” added
 Tolve. A Yamaha PM5D-RH is used for monitors.
As the 2015 concert season was hitting
high gear, Audio Inc. was bolstering its inven-
tory further, taking delivery of additional STM
speakers for inventory to support larger venue
requests.
destroyed by a wildfire, the new sanctuary of
“MalibuPres” — Malibu Presbyterian Church —
Hollywood-based Audio Techniques.
300, with a main floor backed by a gently
curved two-row balcony for its contemporary
and traditional services. The primarily glass and
steel space has large windows with a view of the Pacific Ocean.
 The main audio system has two EAW QX564i
full-range loudspeakers, flown L-R above the
platform. “The QX Series is absolutely ideal for
applications like this, where there’s need for
strong full-range performance from a compact,
easy-to-fly package that’s also easy on the bud-
get,” said Audio Techniques’ Bob Ludwig.
 The SB1000 subwoofers from church’s tem-
porary facility were repurposed, and front fill is
supplied by four EAW JF80 compact loudspeak-
ers, with four more ceiling-mounted JF80s of-
fering additional mid/high presence in the bal-
cony, time-delayed to the main loudspeakers.
 The day before the grand opening, Ludwig
and musical director Josh Kaufman tested the
system and decided not to use any EQ, as it
sounded very good right out of the box. “Josh
suggested we might need to fine tune it once
we heard it in a room full of people, but at that
point it sounded perfect,” Ludwig noted. “After
that first service, he said ‘Don’t touch a thing,’
and we haven’t.”
Mike Sinclair and S tephen Tolve with NEXO STM components.
Audio Techniques provided EAW QX speakers and SB Series
subs for the new sanctuary, which seats 300.
8/20/2019 FOH 1507
Artwork by DIANA THATER
SAN JOSÉ MUSEUM OF ART, SAN JOSÉ, CA
Get picture perfect custom installations from DPS Commercial. We provide a
white glove customer service experience and a one-stop shop for everything your
commercial project needs. From our initial consultation to ideation of integrated
projects, our turn-key commercial solutions include full scenic design and carpentry
workshop to make your vision a reality. Whether it is creating highly immersive
museum quality displays or permanent integration of commercial spaces for your
business, DPS Commercial has you covered.
C Contractors
Licensed Bonded
NEW YORK
DPSINC.com/commercial
NEWSFEATURE
Busy Days for Maryland Sound Soundco Supports Big Back-to-Back Gigs in Miami and Washington, D.C.
W hen it’s big, or even a little
weird, Maryland Sound Inc. will
take your call.
For four-plus decades, 2014 Parnelli
Awards Audio Innovator Bob Goldstein, owner of Maryland Sound, has been
called out on the more challenging gigs
from presidential inaugurals to things for
the government that all involved prefer
we don’t know about.
One thing we can tell you about is
this year’s city of Miami Beach’s 100 th
Anniversary celebration that went down
boisterously. Billed as a “100-hour par-
ty,” Maryland Sound provided the sound
for the ever-changing entertainment on
a huge main stage that featured artists
ranging from Andrea Bocelli with full or-
chestra to a transgender fashion show.
“The actual event was at the Lum-
mus Park, and Nussli Group and
EventStar built an enormous
stage on the beach facing north,” Goldstein says. “They also had VIP
suites along the ocean. It was a
very large area to fill with sound.”
He adds that the events got “pret-
ty wild” and attracted an interesting col-
lection of folks, as anything connected to
South Beach is destined to do.
“We were constantly changing the
venue every night, and put in 19-hour
days for a week to pull it off,” he said.
“Events started at 1 p.m. and went late.
In the case of Flo Rida, who wouldn’t get
off the stage, it went until 2:30 a.m.”
 There was a n ex hibit ion tenni s ma tch,
an antique car show, the naturalization
of 500 immigrants, a mass wedding for
100 same-sex couples, and retired Italian recording artist/astrophysicist Fiorella
 Terenzi contr olli ng the Hubbl e space
telescope relayed on a big video screen
to music. Then there was an eclectic line-
up of music artists that included Barry
Gibb and Gloria Estefan along with many
local acts. “That was the interesting thing
about this — you could not set one mic
up and forget it. Everything was in con-
stant motion.” Goldstein had 12 of his
people working this event.
marked the first time MSI used its new
VTX 25-IIs “and it was spectacular,” Gold-
stein says. The event required more than
100 of them plus 36 V20s and 70 dou-
ble-18 subs (JBL VTX S28 and 4800A).
A personal highlight for Goldstein was
when Barry Gibb’s band backed up Este-
fan. “Gloria has not lost anything, and we
worked with her for many, many years,”
he testified. “She is as good or even bet-
ter than she ever was, and the audio
mix was spectacular.
that and the VTX25-
IIs, we all said it was the best sound we’ve
ever heard — it was
impeccably beautiful.”
Beck with Clair Bros. Randy Lane mixing
for Barry Gibb. “And I have to also give
credit to Chris “Cookie” Hoff who was the
system tech and helped set all this up.”
Miami’s ACT Productions put it all to-
gether, headed by Don Lockerbie. The
City of Miami and Hard Rock Café were
the sponsors. Everlast Production did the
lights and videos.
until the day of load out, when it rained
so hard what should have taken eight
hours took 24,” Goldstein said — but he
wasn’t complaining.
was also called out on another big, high
profile event: Earth Day celebration
in Washington D.C. at the foot of the
Washington Monument. For this, near-
ly 300,000 people turned out for Mary
J. Blige, Usher, My Morning Jacket and
No Doubt, among other acts. The team
brought out pretty much all the same
gear as the Miami event, with some
extra consoles to accommodate band
preferences. Goldstein noted that the
challenge with events like this
is covering a really big piece of
real estate. They used six delays for Miami and nine for Earth Day.
As with many DC gigs, MSI had
to deal with the complexities that
come with the need for security,
but Goldstein credits event coordinator
Jon Baden of AEG and audio coordinator
Greg Wnuk of MSI for doing some excel-
lent planning. Matt Snyder was the on-
site project manager and Ryan Beck was
the crew chief. “That’s a lot of chiefs, but
that’s what this gig needed, and they all
did their jobs perfectly.”
“You could not set one mic up and forget it. Every- thing was in constant motion.” — Bob Goldstein
Performers at the Miami Beach 100 Hour Centennial Celebration ranged from Gloria Este-
fan, Barry Gibb and Andrea Bocelli to the Miami Symphonic Orchestra, pictured here.     A     C     T     P     R     O     D     U     C     T     I    O     N     S     /    M     I    T     C     H     E     L     L     Z     A     C     H     S
Hanging part of MSI’s JBL VTX25-II for the Earth Day
celebration in Washington DC.
By Kevin M. Mitchell
INDUSTRY NEWS
www.lectrosonics.com or 1-800-821-1121
In Canada, call 877-753-2876
In Europe, call +33 (0) 78558-3735Made in the USA by a Bunch of Fanatics.
Lighter and smaller than any other full-featured transmitter
Remote setting capable with RM or smartphone app
Superb audio quality with Digital Hybrid Wireless®
Lemo 3 standard microphone connector
25 and 50 mW RF power settings
75 Mhz (3-block) tuning range
It’s not magic... it’s Lectrosonics.
Introducing the SSM micro bodypack transmitter.
SAVANNAH, GA  — Seeing may be
believing, but Brad Gibson of Capital A Pro-
ductions will tell you it’s all about hearing,
after Capital A completed a sound installa-
tion for Elan, Savannah’s newest entertain-
ment hotspot. The club, which boasts 12,000
square feet of space and an open dance floor,
was outfitted entirely with FBT equipment
— less of it than Gibson expected would be
necessary — and he was very impressed by
the results.
Gibson turned to Scott Hough, Pro Audio/AV
integration division manager of Griffith Sales,
for his input. “He said I really had to check out
FBT because people are having amazing suc-
cess with the product,” said Gibson.
FBT sent Ease Focus plots of Elan to Gib-
son. “I doubted the output that Ease was
showing,” he said. “I called Scott back and
asked if he was sure this product was going
to be that effective. He insisted it was.
“We installed the sound system in just one
afternoon,” Gibson continued. “I set it up ex-
actly the way Ease said it should be and only
tuned the subwoofers for about four min-
utes. The sound was jaw-dropping. That P.A.
system will smash you. It’s a nightclub where
they want it loud… but the mid-high boxes
are still crisp, every seat sounds exactly the same, and the coverage is brilliant. The fact
that it’s so smooth right out of the box is quite
impressive, and everybody that walks into
the room can’t believe it.”
The 12,000 square foot club installed an FBT sound system.
SALINAS, CA  — As part of a
facility-wide audio and video reno-
vation, First Presbyterian Church in
Salinas, CA has completed the instal-
lation of a comprehensive sound sys-
tem from VUE Audiotechnik.
Established more than 100 years ago, the house of worship has been
in its current 1,500-seat location for
more than a decade, around which
time it installed its previous P.A. sys-
tem. In an effort to make the system
more current, the audio team at the
church decided it was time to up-
grade.
limited in in Monterey, CA, sold the
VUE equipment to the church, where
he also happens to serve as a bassist
in the church band.
“I ended up buying a small-scale portable VUE system to be used exclusively as a bass
rig,” Prock said. “I was so blown away with it that I brought it to the church to use. Everyone
there loved it too, and it got them interested in considering upgrading the Church’s main
sound system with VUE.”
Ryan Hunzie, the church’s creative arts director, was equally impressed. “We went to
hear an installed VUE system and were blown away by the transparency,” Hunzie said.
“John and I felt that our existing P.A. was okay, but knew t hat by upgrading it, the church
would experience a major improvement.”
Prock helped steer Hunzie to the right VUE gear for the installation. “The system con-
sists of quite a few components,” noted Hunzie. “We have 12 al-8 Line Array cabinets in
two hangs of six on either side of the room, and eight al-4 Subcompact Line Array cabi-
nets hung as a center array.”
 The church also uses four hs-28 dual-18h ACM subs. For front fill, there are six i-Class
2x4.5 Dual-4.5-inch surface mount foreground systems. Two VUE a-10 compact full range
speakers and four powered i-6a foreground loudspeakers handle stage monitor duties.
Hunzie installed the gear — including the P.A. hang — himself. “Ryan took the bull by
the horns,” said Prock. “He flew it, time -aligned it and tuned it without needing any techni-
cal assistance, and did an outstanding job. The results are incredible.”
“We could tell the difference between the old and new system right away,” said Hunzie.
“The first thing we noticed was the clarity. We had people coming up to us saying ‘what
are you doing differently? It sounds so much better now, so clear.’ That’s true, especially in
and under our balcony, where in the past we had issues with intelligibility.“Coverage across the room is amazing,” Hunzie continued. “You can sit on either side,
and it always sounds like you are seated in the middle of the room, whereas previously
the volume and clarity would drop off significantly toward the sides. No matter where you
sit, the sound is consistent.”
Historic Church in Salinas, CA Installs New Sound System
A VUE Audiotechnik system covers the 1,500-seat sanctuary.
Neon Trees’ “Intimate Night Out”
Tour Hits the Road with Digital Mix  LOS ANGELES — Neal Duffy, FOH engineer and production manager for Neon Trees, has
been using Allen & Heath equipment on tour for four years, and once again had good things to
say about the latest setup for the band’s “Intimate Night Out ” tour, which included t he compa-
ny’s iLive T-112 and the iDR-48 MixRack with 48 mic/line inputs and 24 XLR line outputs.
“The multi-band compression is great — really accurate in use,” Duffy noted. “I absolute-
ly love the sub-harmonic synth,” he added. “Sounds great, easy to use and very intuitive. All- around, a great piece.”
Justin Roberts, monitor engineer, who runs the iLive T-112 during performances, also values
the expandable features. “Everything the band is hearing is coming from the in-ears,” Roberts
said. “This gives us excellent control over both the left, right, and panning stereo imaging for
every individual on what they want to hear. Everything is customized, and the faders flip as
I switch from each individual. One fader can control two stereo left/right channels, which is
convenient because you can select their mix,” he added. “It’s nice — you can make changes on
the fly during the show or rehearsal.”
Neal Duffy, Neon Trees’
 Vibe to Savannah, Georgia
www.eaw.com
Whether in hotel ballrooms, tents, outdoor stages, clubs, festivals or houses of worship – your clients will notice
how the pristine fidelity, coverage consistency and output capability of Redline™ enables everyone in their
audience to experience a connection.
 They probably won’t notice the subtle hyperblack logos, the absence of fan noise, the hidden amplification on the cardioid subs or the
back panel LEDs that have been muted with the push of a button. But we’re confident you’ll agree that’s okay.
With Redline in your arsenal, the reviews of your company will be glowing. The drapes won’t be.
Redline. Engineered by professionals, for professionals.
Find out more and enquire about a demo at EAW.com.
Shown:RL12 in monitor orientation, RL15 full-range over two RL18S subwoofers in cardioid configuration
Some things your clients should notice. Others, they shouldn’t.
8/20/2019 FOH 1507
GLOBAL NEWS
gineer John Delf has worked a succession
of leading artists, ranging from Plan B to The
Script and The Feeling — while maintaining
his own Edge recording studios in Manchester.
Back in 2012, Delf also added another rising
band to his portfolio when he joined Australian
group 5 Seconds of Summer as FOH engineer
and tour manager for a two-year arena and
stadium world tour, where the band played live
for a total of more than four million people.
In between, the band undertook its own
theater headline tours, before this year grad-
uating to a sold-out 70-date headline arena
tour. For the theatre dates, Delf opted for the
Soundcraft Vi4 with a Soundcraft Realtime
Rack. But on this latest arena tour he moved up
to Soundcraft’s next generation technology.
“I’m using a Vi3000 for UK and Europe, a Vi6
in Australia — and we are hoping for a Vi7000
for the USA leg,” Delf said, “all with the Realtime
Rack.” The gear is provided by Liverpool-based
Adlib. “The system sounds amazing, and com-
bined with the Vi3000 and UAD [Universal
Audio] plug-ins, I got exactly the results I was
after.”
came during production rehearsals in Lisbon
— where the trademark Soundcraft layout
was immediately apparent. “We spec’ed the
desk with two MADI cards and a Dante card,”
he said. “We use the Dante to multi-track the
whole show every night [for virtual sound
checks] and the MADI to run the UAD Realtime
rack. Both the recording and the UAD are run
from a Mac Mini installed in the flight case in
a slick package put together by Adlib, with a
touch screen monitor mounted on the side.
“I love mixing this band!” Delf added. “They
are good players and sing incredibly well while
running around the stage like maniacs. Every
show is sold out and the crowd goes crazy —
why would anyone not like doing that? As for
the Vi3000, I absolutely love it, to the point
that I am considering buying one myself. Ev-
erything that I need to do for this show is pos-
sible with the Vi3000 and it makes everything
sound so warm and punchy.”
Beside the sound there are other plusses.
“I’m amazed at how powerful the desk is in
such a small footprint. It’s reminiscent of the
Vi4 but in an improved format. The graph-
ics are sharper and the touch screens seem
more responsive. The inbuilt compressors feel
smoother and the high pass filter feels more
distinct. And all the information you need is
in front of you — not hidden under loads of
layers. With four screens, I can see at a glance
what settings I have for each channel without
having to press several buttons to get to that
information. The FaderGlow also means you
never get lost in knowing which page you are
on. In fact, the screens generally seem bright-
er with better contrast and are more respon-
sive to touch. The whole package seems more
compact and efficient and workflow is faster.”
FOH engineer John Delf has been mixing on various S oundcraft consoles.
Adlib Supports 5 Seconds of Summer Tour with New Console Options
MASHHAD, Iran — The Holy Shrine of
Imam Reza, which houses the mausoleum of
Imam Reza, the eighth Imam of Twelver Shi-
ites, is the largest mosque in the world by di-
mension and the second largest by capacity,
making the sanctuary in the northern city of
Iran a Mecca for the devout and tourists alike. Islamic architecture is known for its ornate
design and radiance, and it was of paramount
importance that the upgraded audio system
enhancements for three of the mosque’s foy-
ers, Bast Shayhk Toosi, Bast Hur Ameli and Dar
al Hujjah, not be visually disruptive.
Several audio providers were competing for
the project. After demonstrating how the slim
design of K-array loudspeakers could serve as
a visually discreet solution, Tehran-based, pro
audio distributor Moco got the nod.
“Moco and their K-array solutions were an
obvious choice,” said Mr. Akhbari, engineer
and head of the Holy Shrine’s technical de-
partment, citing the ability “to blend in well
with the architecture” as the “most important” factor.
Installation company Pishgaman Sazeh va
Sanat Pasargad installed 24 KK102 column
speakers powered by six KA10-10 four-chan-
nel amplifiers throughout the arched en-
trance halls covered in glass mosaics.
 The project was completed within 15 days by a team of 10 techs using over 40,000
meters of cable. “I am very satisfied with the
quality of the speaker system and the instal-
lation,” Akhbari concluded.
Lightning Injures Crew and Campers
at German Rock am Ring Festival MENDIG, Ger-
many — Separate
strike affected eight
than three hours later,
 There were no direct hits or fatalities
from the strikes, and all those affected were
in “good health.” Or-
event, which marked
the 30th anniversary
event. The next Rock am Ring festival is
slated for June 3-5, 2016.
Motörhead were among the headliners to perform at
the main Crater Stage during Rock am Ring 2015.
Tehran-based Moco provided K-array components.
8/20/2019 FOH 1507
martinaudio-mla.com
 with Powerful Speaker System
20 JULY 2015 •  fohonline.com
Download Festival Encounters Cashless Payment System Woes
LEICESTERSHIRE, U.K. — The Download Festival noted earlier this year on its web-
site that the 2015 festival would be “absolutely cashless” with food and other essentials
available for purchase through a new “Dog Tag” RFID payment system.
But although festival organizers promised benefits including improved security and
“reduce queues for the bar and food stalls,” apparent glitches left many attendees tweet-
ing their disgruntlement with the new system after the 2015 event, held June 12-14.
A spokesman for the organizers extended apologies to any who had been inconve-
nienced by the glitch and noted that festival organizers had made progress in addressing
the long lines at the concession stands by adding personnel to deal with the situation.
 The three-day festival, which t ypically draws crowds of an estimated 37,000 per day,
featured a long roster of top rock acts including Slipknot, Muse, Kiss, Faith No More, Möt-
ley Crüe, Billy Idol, Marilyn Manson, Enter Shikari, and Judas Priest, among others.
DUBAI, UAE  —
technik system in its
system into Pacha Ibiza
franchise that is Pacha.
know the content will all be Electronic
Dance Music (EDM), with no acoustic con-
tent, everything pure electronic, then you
don’t want any contribution from the room
acoustic,” noted Janko Ramuscak of d&b,
who led the German design team working
on the project. “The ideal would be totally
dry and direct.” Spread over three floors, Pacha offers the
mix of entertainment experiences, room
spaces, VIP locations and an open rooftop
terrace — requiring a complex, zoned solu-
tion requiring over 100 channels of amplifi-
cation. Drawing on elements from the d&b
V-Series and Q-Series for main P.A., with a
selection of loudspeakers from the instal-
lation-specific xS-Series, Ramuscak devel-
Juanma De Casas of d&b Spain.
In 2012 De Casas had designed the d&b
system as part of an upgrade to the audio
system at the original Pacha Ibiza club. “In
close collaboration with Pacha and their
architects, the Dubai project was coordi-
nated by Chadi El Masri and Amrith Ver-
ghese from Lightbox Professional, our d&b
Partner in UAE,” explained De Casas. “The Lightbox team Amrith assembled did a fan-
tastic job working with install partner Cor-
nerstone Technologies to achieve a perfect
outcome.” Verghese was rightfully proud of
their collective achievement, “When I final-
ly switched on the system for the people
from the club to walk around and listen,
they were all smiles.”
which celebrates light, music and ideas while
drawing visitors to Sydney’s downtown area
during the colder part of the year, got an as-
sist from Australian manufacturer/distributor Jands, which supplied JBL and Crown audio
gear for “Light Origami,” a multimedia art in-
stallation.
Sydney’s restaurants, ferries and tourists in
the city’s Circular Quay area, “Light Origami”
functioned as a giant walk-in k aleidoscope of
sorts. The work was a collaborative installa-
tion from Japanese artists Masakazu Shirane
and Saya Miyazaki, Kiwi Reuben Young, Aus-
tralian composer Inge Liljestrom and the en-
gineering team from consultancy firm Arup.
Drawing interest from visitors who could
interact with the piece, it was one of the high-
lights of Vivid. Participants could make the
multifaceted mirrors of the kaleidoscope re- fract and distort the shapes, colors and move-
ments of the audience as their perceptions of
light and reality were altered.
“Arup has been involved since the first Viv-
id in 2009,” said Arup senior consultant Chris-
topher Sims. “It’s an event we like to support.
It’s effectively pro bono work, done by pas-
sionate individuals.”
an audio system that could be almost invis-
ible, while still providing coverage for the
whole structure, giving each audience mem-
ber an aural experience analogous to what
they were experiencing visually.
were ruled out. But Sims came up with an in-
novative solution.
speakers, which would normally be mount-
ed in a ceiling and firing down,” he said. “We then built what we call a ‘shroud’ that runs
around the perimeter of the structure along
the ground, hiding the lighting and cabling.
We then adapted the Control 16’s standard
mounting system, flipped them around and
mounted them in the shroud, firing upward,
bouncing their sound off the surfaces in the
structure.”
that optimized the piece for the whole au-
dience. “I decided to wire the speakers ‘left,
right, left, right’ as you go around the struc-
ture,” he continued. “If you’re standing around
the edge, you’ll get a local sense of stereo
space. As you move into the middle, it’s more like a cocoon of sound. We’re not trying to
maintain a stereo image within the space, be-
cause there’s no sense of left and right once
you’re in there. It’s about creating a surround-
ing, enveloping experience.”
8|300N power amp with its built-in EQ pro-
cessing to tune the space. It was all part of
a design that had to be able to withstand
long running times unsupervised, and being
turned on and off abruptly. “The soundscape
is played from an iPod mini with one track set
to infinite repeat. A digital timer that turns on
at six PM and off at midnight. It’s a harsh en-
vironment with thousands of people around,
so our approach is low-tech, yet robust.”
Interactive Artwork at Sydney’s Vivid Festival Gets Audio Boost
 Jands provided JBL and Crown gear for “Light Origami” during the 18-day event.
BEIJING, China — Pop singer Tan Wei-
wei recently kicked off her tour in Beijing’s Workers’ Gymnasium with a sound reinforce-
ment system provided by EAW’s Chinese dis-
tributor, EZpro.
agencies in China, MaxTeam is responsible for
sound production for the tour. The ready-for-
anything mains rig included 24 Anya mod-
ules and 24 Otto subs along with two KF394
point-source speakers for front fill.
Inaugurated in 1961, the Beijing Workers’
Gymnasium presents an acoustical challenge
for live sound applications. Not only does the
structure have limited load bearing capabili-
ty, but the speaker location is in close proxim-
ity to the LED screen and nearfield audience.
As a result, it’s important to have a compactsound system to avoid weight and visibility
complications.
Resolution software, the on-site engineers
calculated that left-right arrays consisting
of two columns of Anya modules would be
enough to cover most of the venue. Each ar-
ray was made up of a column of eight Anyas
to cover the main audience area with another
column of four for outfill. LF support is deliv-
ered by 24 Otto ground-stacked subs below
the Anya arrays.
in this venue and most don’t meet the SPL
requirements in the upper audience area,”
said MaxTeam FOH engineer Minjohn Lin.
“It is common to hang arrays made up of 18
enclosures each — 36 total — as well as sub-
woofers. Initially, we asked EZPro to provide
36 Anya modules, but after we checked the
acoustic modeling in Resolution we knew
that 24 would be more than sufficient.”
 The compact Anya array solved the weight
problems and added the bonus of very effi-
cient load-in and set-up times. “Anya line ar-
rays flown at 8.7 meters achieved consistent
coverage at the front, central and rear audi-
ence areas,” Lin added. “Everyone was incred-
ibly impressed with the fantastic sound qual-
ity and coverage.”
Tan Weiwei Concert in Beijing Gets
Full-Venue Coverage with Fewer Boxes
Lightbox provided d&b audiotechnik gear.
8/20/2019 FOH 1507
ONTHEMOVE
cording interfaces
Eighteen Sound has appointed Rat Sound
Systems, Inc. as a Pro Provider in the U.S. and
named Jeffrey Cox director of sales for North
America. Cox made the announcement with
Rat Sound GM Paul Freudenberg, .
Rational Acoustics announced that Gerr-
Audio is now the exclusive distributor for
all Rational Acoustics and Smaart-branded
products in Canada.
Bradley Johnson as director of Guitar Center
Professional.
trie (AEI) to its team. The Paris-based compa-
ny has been selected as the only distributor of K-array products for France.
Merging Technologies has formed a new
company to support its sales and technical
support in Sweden. Merging Sweden took
over distribution of Merging’s professional
products line in May and can be reached at
www.merging.se.
clusive distributor in that country, to serve
the growing professional audio market in
the region.
Outline North
based in Outline’s
 joins as director of accessories; J etro da Sil-
va as artist relations manager; Kurt Kesedar
and Jason Williamson were named as dis-
trict sales managers; Roland Smith III is now
a retail support rep; Jeff Silverman as guitar
product specialist; and Cherie Maciel as credit
administrator.
where all of its passive, bi-, tri- and quad-
amp loudspeaker systems will be powered
by IDEA’a new ProRack amp Series, featuring
QSC’s PLD Series amps.
Solid State Logic  appointed Audiotech
as its Live console distributor in Poland. Au-
diotech, which also distributes SSL music and
broadcast products, serves every sector of
the pro audio market in Poland. Audiotech’s
Krzysztof Kowalewski, Anna Domanska and Slawek Gladyszewski are pictured here with
the SSL Live console.
distributor for all Gibson Pro Audio brands in
Canada, including Stanton Audio, KRK Sys-
tems, Cerwin-Vega, Neat Microphones and
Cakewalk software.
SHOW REPORT
were plenty of new offerings.
Allen & Heath (allen-heath.com)
providing ultra-flexible architecture, power-
control and networking options tailored to
applications from touring to festivals to in-stallations. The distributed system uses a
separate mix Surface and MixRack, offered
in three sizes — the DM32, DM48 and DM64
and three control surfaces sharing common
config/setup/show files. The 96k/96-bit XCVI
Core has 128 inputs with full processing and
16 dedicated stereo FX returns, for 160 in-
puts to mix.
12-inch touch screens, gesture control, con-
figurable widget areas for Scenes, meters
and FX. The MixRack and Surface support a
range of networking cards, including Dante,
Waves SG, ACE, and MADI, and fiber optic is
slated.
hot-swappable power supplies every audio
connection in the system. Prices range from
$22,500 for a small dLive to approximately
$35,000 for a large touring system. See the
video dLive demo at fohonline.com/foh-tv .
Avid  (avid.com) reported that leading
sound companies worldwide are embracing
the VENUE | S6L fully modular, scalable live
sound mixing system, announced earlier
this year at Musikmesse/PL+S and slated to
ship in the second half of 2015. Also at the
show, Waves Audio  (waves.com) revealed
that it has been working with Avid to bring
support for Waves plug-ins to the VENUE |
S6L through its innovative SoundGrid tech-
nology and customers will be able to access
Waves plug-ins via the growing Avid Market-
place.
console, which offers 40 Flexi channels, 46
buses, 24 onboard preamps and two large
multi-touch screens. The 96 kHz S21 FPGA
shares the same algorithms as DiGiCo’s SD7,
while its mic preamp designs are taken from
the 192 kHz SD-Rack. also featured are us-
er-definable, snapshot automation, a 10 x 8
matrix, 16 assignable 32-band EQs, eight FX
engines and dynamics on every input and
bus.
date a wide range of input/output configura-
tions or platforms for up to 64 I/O’s. The DMI
card format is shared by DiGiCo’s Orange Box audio format converter in a 2U chassis with
two slots that accommodate any of ten plat-
forms (Dante, Hydra2, BNC, Cat-5, Optocore,
Aviom, ADC, AES, DAC and SoundGrid), with
more planned as future needs arise.
Lawo  (lawo.com) announced several
soles. Now shipping, the new Compact I/O
stagebox connects via Cat-5 or optional fi-
ber, and features 32 Lawo-grade mic/line
inputs, 32 line outputs, AES3 digital I/O’s,
outputs, Ravenna ports, MADI and more.
Perhaps the big news was that Waves Audio 
is working with Lawo to integrate Sound-
Grid technology and Waves plug-ins into
the mc2 series consoles. “The integration of
Waves products gives our customers access
to Waves’ comprehensive plug-in collection,”
says Lawo’s Christian Struck, “which is a per-
fect complement to our system, especially
for live and install sound applications.”
Mackie  (mackie.com) is shipping the DL
Dante Expansion Card for its DL32R, bring-
ing networked audio performance to this
32-channel, iPad-controlled digital mixer.
audio I/O, allowing the DL32R to be connect-
ed to any Dante-powered AV network. Also
included is a Dante Virtual Soundcard soft-
ware license, for direct recording/playback
of up to 64 channels of audio to a PC or Mac
computer.
surface for its StudioLive RM-series rack-
mount, Active Integration digital mixers
and Studio One DAW. Networking with Stu-
dioLive RM32AI and RM16AI mixers via AVB
Ethernet and PreSonus UCNET technology,
the StudioLive CS18AI offers 18 touch-sensi-
tive motorized faders and enables hardware
control of all mixer features, managing up to
64 channels, from the surface, a Wi-Fi tablet,
Windows 8 touch screen or all three. See the
S21 video tour at fohonline.com/foh-tv.
QSC (QSC.com) was demoing the 2.1
firmware upgrade for its TouchMix-8 and
 TouchMix-16, which improves mixer stabilit y
and Wi-Fi connectivity, adds MIDI-over-USB
footswitch support, more flexible scene re-
call functions and the ability to use aux mix-
es as subgroups.
By GeorgePetersen
Product Hits of
infoComm2015 More than 39,000 AV and audio professionals attended InfoComm 2015.
Allen & Heath launched dLive, its next-gen mixing system.
Lawo is working with Waves to integrate SoundGrid
technology into its MC series consoles.
Mackie’s DL32R console now offers a Dante option.
Roland is now shipping its M5000 console.
F rom June 13-19, more than 39,000 professional audiovisual buyers and sellers from
more than 108 countries descended on Orlando’s massive Orange county conven- tion center for InfoComm 2015. This represents a 5.6 percent increase in attendance
over last year’s show.
Keeping up with changes in technologies, local and federal regulations, building codes
and more can be a full time job in itself. A key part of InfoComm is the wealth of training,
education and industry certification opportunities it offers, and thousands attended this
year’s InfoComm University™ sessions.
“InfoComm is the ideal place to make AV purchasing decisions, connect with contacts
and learn principles that will boost your effectiveness,” said David Labuskes, CTS, execu-
tive director/CEO of InfoComm International. “The marketplace strongly supports the In-
foComm show, and we are grateful for the attendee support and for the innovative exhibi-
tors who are committed to making InfoComm a can’t-miss event on the industry calendar.”
 This year ’s expo also drew 950 exhibitors in demo rooms and exhibits, occupying a
record 515,000 net square feet of exhibit and special events space. Obviously, most of that
was by video, display and signage technologies, but this still left some 300 audio-only
exhibitors to check out, making it difficult to see everything audio over the three short
days on the show floor. Interestingly, the catchphrase for this year ’s InfoComm was “Wow.” I think we’d have to
agree, as this year’s show did not disappoint, providing plenty to see — and hear — for
the sound reinforcement professional. The following are just a few of the new product
debuts that caught our attention on the audio side.
8/20/2019 FOH 1507
SHOW REPORT
Configurable Architecture) digital console,
support and up to 460 inputs/456 outs at
48k Hz. New at InfoComm were seven con-
sole expansion/interface cards that support
REAC, Dante, MADI, Waves SoundGrid, SDI),
SFP and DVI.
and Vi7000, shown earlier this year. Yet there
was plenty of notice for the 40-input Si Im-
pact digital console with ViSi iPad control
and built-in Stagebox connectivity for I/O
expansion. It also features a 32-in/32-out USB
recording and playback interface FaderGlow
motorized faders, LCD channel displays or
scribble strips and studio-grade effects and dynamics from BSS, Lexicon and dbx.
Solid State Logic  (solidstatelogic.com)
more than 40 new software and hardware
features and updates for its SSL Live console
range. Most importantly, it brings the L500
from 192 mix paths to 256 with a doubling
of effects processing power; while the L300
goes from 128 to 192 mix paths.
Yamaha  (yamahaca.com) was showing
in last month’s FRONT of HOUSE ), and new
the RSio64-D I/O Dante/Mini-YGDAI format
conversion interface that can handle up to
64 inputs and 64 outputs while provid