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NASHVILLE Gibson Guitar Corp. re-
cently announced the ormation o the Gib-
son Pro Audio Division ater acquiring the
assets o the Stanton Group, which includes
KRK Systems, Cerwin-Vega and Stanton DJ.
Since announcing the ormation o that
division, Gibson announced a strategic part-
nership with Onkyo Corporation. The Onkyo
partnership, Gibson said, will beneft the
new pro audio division with access to new
technological resources. Gibson, in turn, will
provide Onkyo with its marketing resources
and expertise.
As part o the Onkyo deal, Gibson will
acquire a majority o Onkyo USA, which
is Onkyos exclusive distributor or North
America and a distributor or Central and
South America. The move also makes Gib-
son the second-largest Onkyo shareholder.
With its strategic investment in Onkyo,
Gibson chairman and CEO Henry Juszkie-
wicz joins Onkyos board o directors. On-
kyo, in turn, will invest in Gibson, and CEO
and president Munenori Otsuki will take a
position on Gibsons board o directors.
In addition to Onkyo USA becoming
part o Gibsons new pro audio division,Gibson and Onkyo will orm a Hong Kong-
based joint venture ocusing on design
and development o new consumer audio
products.
The Stanton Group acquisition paved
the way or Gibsons frst big expansion into
the pro audio market, with loudspeaker,
monitor and electronics technology. At the
time o that acquisition, Gibson cited Stan-
ton Groups R&D base as a key actor lead-
ing to the deal.
Right now we have an extremely
powerul brand that people recognize and
value, but the musical instrument category
is inherently limited because people who
purchase instruments also need to know
how to play them, said Henry Juszkie-
wicz, chairman and CEO o Gibson Guitar.
This new divi-
sion is perectly
aligned with
our core. It ex-
pands our reach
to ellow music
lovers and al-
lows us access
to 20 in 20 con-
sumers, insteado the one in 20 we currently hit. Stanton
produces some o the best pro audio equip-
ment in the world and were incredibly ex-
cited to be working with the very talented
team at Stanton as we take Gibson into the
uture.-$18$5
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Editors Note
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News
DiGiCo Announces ISIS Equity InvestmentCHESSINGTON, UK DiGiCo, which had
received fnancial backing or its expansion fve
years ago rom Matrix Equity Partners, recently
announced new expansion plans made pos-
sible rom a secondary investment rom ISIS
Equity Partners.
This year, DiGiCo is marking 10 years since
the debut o its D5 Live console. Over that time,
the company has expanded its product line andlaunched the Stealth Digital Processing FPGA
audio engine, now ound in all SD series con-
soles.
This is a antastic opportunity or DiGiCo
to build urther on the achievements o the last
fve years, said James Gordon, DiGiCo CEO. The
company has expanded rapidly in a short space
o time, and the timing is perect to add some
new investment and experience to the team.
I have worked in the pro audio industry
or 33-plus years. The last fve years with Matrix
and the DiGiCo team have really opened up our
ability to challenge new technology, such as
our move to Stealth Digital Processing, noted
John Stadius, DiGiCos technical director. The
uture combination o ISIS and Matrix is goingto accelerate our development opportunities
even urther.
Denise Emmanuel, investment director at
ISIS, cited DiGiCo as an example o an entrepre-
neurial company and management team that is
able to deliver growth even in a dicult envi-
ronment.
DiGiCos success
has been driven by a
highly ocused and
competitive manage-
ment team, ecient
investment in R&D, a
commitment to qual-
ity in its Scottish ac-tory and an uncom-
promising attention
to customer satisac-
tion, concluded Ma-
trix Equity Partners
Bob Henry.From left, James Gordon, John Stadius, Helen Cullerton, David Webster
MOSCOW NAMM and Messe Frankurt
announced that dozens o manuacturers and
distributors o major music product brands
have confrmed exhibit space and attendance at
the two new international music product trade
shows being co-located here: NAMM Musik-
messe Russia and Prolight + Sound NAMM Rus-
sia, to be held or the frst time at Moscows Expo
Centre May 16-19, 2012.
Sales or Russian musical instruments and
technologies are estimated to be $450 million
(US).
According to Betty Heywood, NAMM direc-
tor o international aairs, the Russian musical
market is potentially the largest in Europe, driven
by a population o close to 145 million people, a
developed musical culture and recent sustain-
able growth trends. Russia alone has more than
5,000 music schools or children,she notes.
The trade shows are being co-produced by
Messe Frankurt, producers o the InternationalMusikmesse, Music China, Frankurts Prolight +
Sound, and Prolight + Sound Shanghai, and by
NAMM International, subsidiary producer o the
NAMM Show and Summer NAMM.
NAMM and Messe Frankurt have been suc-
cessully cooperating on the Music China show
in Shanghai since 2006.
NAMM & Musikmesse
at Moscow Expo Centre
TRIESTE, Italy Scaolding and truss
crumpled at about 2 pm prior to a Dec. 12rock concert eaturing Jovanotti at the 6,943-
seat PalaTrieste. The collapse killed one stage
worker and injured eight others, according to
press reports.
About 20 workers had nearly completed
construction o the structure or Jovanottis
Ora Tour at the time o the accident. The
worker who died at the scene, Francesco Pin-
na, 20, was a college student. Authorities and
investigators restricted access to the venue
and the concert was canceled.
The artist and his manager, Maurizio
Salvadori, said the cause o the collapse re-
mained a mystery, noting that the structure,
which included LITEC truss, had been certi-
fed by an engineer and had been used at
numerous previous tour stops without a
problem. The tour was expected to resume in
February.
Jovanotti Concert Stage
Collapses, One Worker
Killed, Eight Injured
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News
and exhibitor, I know the AES remains
a vital resource or audio proessionals.
We need to clariy that value and com-
municate it better. Im ready or the chal-
lenge.In 1987, ater graduating rom Mc-
Gill University with an EE degree, Moses
joined Rane Corporation as a digital au-
dio product designer. In 1995 he invent-
ed a novel means o transporting audio
over FireWire and co-ounded Digital
Harmony Technologies (DHT) to deploy
this technology.
He also worked as a consultant to
numerous consumer and proessional
audio manuacturers until THAT Corpo-
ration recruited him in 2006 as program
manager o its IC business. As a mem-
ber o the AES Board o Governors since
1999 and as president or 2007-2008,
Moses has served an increasingly inte-
gral role within AES.
Bob Moses Named
New Executive
Director for AES
LOS ANGELES Todd Morgan, one o the
ounders o Jan-Al Cases, died on Dec. 20, 2011
ater a long illness. He was 59. Prior to joining Jan
and Mue Alejandro, Morgan had worked at
Studio Instrument Rentals (S.I.R.) where he met
Alejandro.
Morgan was the creator o the Banana Case
or shipping large screens so named because
the two lids peeled open to reveal the screen in-
side. The case orced a two-man lit, preventing
drops and screen breakage. It was an instant suc-
cess and an example o Morgans ability to incor-porate the needs o end users in his designs.
Morgan is survived by his wie, Darlene Mat-
ura Morgan, his siblings, and is also remembered
by many riends and proessional colleagues
who recall his sharp wit and detailed case de-
signs. Condolences sent to Jan-Al Cases (www.
janalcase.com) will be passed on to his amily.
Audio-Technica Assumes U.K. Distribution for Allen & Heath
Audio-Technica MD Adrian Rooke
LEEDS, U.K. Audio-Technica Ltd has an-
nounced it has entered into an agreement with
Allen & Heath Ltd to act as exclusive distributor
or the mixer manuacturer in the U.K. The
strategic move mirrors a similar arrangement
in Germany, where Audio-Technica has been
Allen & Heath distributor since 2005, seeing
a signifcant growth in sales over the last six
years in the territory.
Allen & Heaths sales and marketing man-
ager, Debbie Maxted, said the company is
delighted to be working with Audio-Techni-
ca, which has already demonstrated its com-
mitment to the brand and to our dealers and
end users in Germany. Allen & Heath has en-
joyed strong growth in recent years and we
have some exciting new products due or release
in the near uture, so we eel that this partnership
comes at just the right time or the business.
Audio-Technica and Allen & Heath are well-
suited to this new venture, sharing a dedication
to excellent customer service and ater-sales sup-
port as well as a reputation or quality products,
said Adrian Rooke, Audio-Technica managing
director. Where there is a microphone there is,
o course, requently a mixer, so in terms both
o culture and product portolio, the new agree-
ment brings advantages or both our businesses
and our customers.
Audio-Technica will handle the ull range o
Allen & Heath products starting Feb. 1, 2012 and
will be responsible or sales, technical support
and service or both existing and new customers.
From left, Jan Alejandro and Todd Morgan, in1984, a year after Jan-Al Cases was founded.
In Memoriam:Todd Morgan, 59
GET THE APPGET THE NEWS
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News
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International News
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Harman Pro-
fessional named
Richard Ruse, an
audio industryveteran, as se-
nior director o
global sales or
JBL Proessional.
He reports to JBL
Proessional VP/
GM Mark Ureda. Ruse has served JBL as direc-
tor o marketing, Portable PA and, prior to that,
as director o sales, Western Region. Prior to JBL,
Ruse held management positions with compa-
nies including Alesis, Line 6, KRK and SWR, and
also owned a sales and marketing consultancy.
In his new position, Ruse is responsible or
sales planning and management, collaborat-
ing with the Harman Pro regional sales oces
worldwide and interacing with key accounts,
domestic representatives and international dis-
tributors.
Harman also
named Nick Owen
senior director, world-
wide sales or its SignalProcessing business
unit. Owen will be re-
sponsible or global
brand strategies or the
dbx, Lexicon, BSS and
DigiTech brands. He is based in Harmans Sandy,
UT acility and reports to Rob Urry, vice presi-
dent and GM o Harmans Signal Processing and
Amplifer business units.
Harman also
named Harry McGee to
its Mixer, Microphones
and Headphones busi-
ness unit or Sound-
crat, Studer and AKG-
branded gear in Potters
Bar, U.K. Prior to Sound-
crat/Studer/AKG, Mc-
Gee moved rom posts with the U.S. Air Force
and U.S. Deense Contract Management Com-
mand in Europe to civilian roles including GM at
DeLaRue, senior VP operations at Dione Plc andCOO at Vados Systems Ltd.
Also based in Pot-
ters Bar is Doug Green,
Harmans newly-named
director o sales or the
EMEA regional sales
oce. Green is respon-
sible or overseeing
all sales activities in
the region or Harman
brands including AKG, JBL Proessional, BSS Au-
dio, Crown, Lexicon, Soundcrat and Studer in
Europe, the Middle East and Arica. He reports
to Scott Robbins, Harmans senior director o
sales. Green has more than 20 years o proes-
sional audio industry experience at companies
including TC Group International, Lab.gruppen
and TOA Electronics.
Fishman added our new hires to its en-
gineering and product development team:
Andy Lewis, senior manager - new business
and product development; Tom Hagerty, se-
nior mechanical design engineer; Joe Kozdra,
test development engineer; and Nick Servi-
dio, junior audio engineer. Lewis is a 25-year
veteran in proessional and consumer audio
with engineering and marketing positions or
brands such as Russound, Bowers & Wilkins,
EAW, Apogee Acoustics, Acoustic Research
and Record Plant Studios. Hagerty comes to
Fishman ater working with design and engi-
neering consulting frms in the Boston area
including Boston Acoustics, Instrumentation
Labs, Motorola, OXO, Procter & Gamble, Saud-
er and The First Years. Kozdra brings 35 years
o experience in electronics measurement
and testing, including 19 years as a test main-
tenance technician and 16 years as a manu-
acturing test engineer in optical telecommu-
nications and consumer audio. Servidio, who
has developed his own Audio Unit plug-ins
and iOS applications, has experience in both
analog audio circuit design along with digital
signal processing techniques.
On the Move
Nick Servidio
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Crew
Audio Director/FOH Engineer:
Joe OHerlihy
Monitor Mixing Engineers: CJ
Erikson, Richard Rainey, Alastair
McMillan
Crew Chief/Senior System Engi-
neer: Jo Ravitch
System Engineer: Rich Schoen-
adel
Assistant System Engineer:Vincent Perreux
Monitor/Stage Engineers: Chris
Holland, Jason Brace
Stage Patch Techs: Jason ODell,
Tom Ford
Techs: Jen Smola, Ben Blocker, Pas-
cal Harlaut, Hannes Dander, Joel
Merrill, Chris Fulton
Gear
FOH
Console: DiGiCo SD7
Speakers: Clair i-5, i-5b, SLP, FF2,
BT-218, i-DL
Amps: Lab.gruppen PLM 20000Q,
PLM 14000
Processing: TC Electronic 2290;
Eventide H3500; Yamaha SPX1000;
Lexicon PCM70; Summit DCL-200;
Avalon 737sp; Manley VoxBox
MON
Consoles: DiGiCo SD7 (2); Avid
VENUE Profile; Midas Venice 160
Speakers: Clair 12AMII Stealth
wedges, ML-18, i-5b
PMs: Future Sonics; Sennheiser
2000 series
Amps: Lab.gruppen PLM 20000Q,
PLM 14000, PLM 10000Q, FP2400Q
Mics: Shure SM57, SM58, PG58,
SM81, Beta 52, Beta 58A, Beta 98,
Beta 91, WL184; AKG 414B/ULS,
451EB; Sennheiser MKH-416, MD-
421; beyer M88; Audio-Technica
AT4050; DPA 4088 cardioid; 4065
Headset/TA4F Shure RF; Country-
man Type 85 DI
Wireless Mics: Shure UR4D
Processing: Bricasti M7; TC
Electronics 2290, M5000; Tubetech
SMC-2B; Yamaha SPX-990, SPX-
1000; Tascam DA-30 MKII, CD-
RW901
Plugins: Aphex Aural Exciter;
Cranesong Phoenix; Focusrite
Forte Suite; McDSP Analog Chan-
nel, Channel G, Chrome Tone,
MC2000; Trillium Lane Labs TL
Space; Waves Live Bundle
Crew
FOH Engineer: Dave Eisenhauer
Monitor Engineers: Glenn Collett, Andy Hill
Crew Chief/System Engineer: Mike Allison
Monitor System Engineer: Dustin Ponscheck
Tech: Brandon Allison
Gear
FOH
Console: Midas XL-4
Speakers: Clair i-5, i-5B, i-3, BT-218, FF-II
Amps: Lab.gruppen
Processing: Aphex 622; TC Electronic M5000, M2000,
2290; Summit TLA-100, DCL-200; Smart Research C2;
Empirical Labs EL-8; Amek 9098
MON
Consoles: Midas Heritage 3000, Avid VENUE Profile
Speakers: Clair 12AM, 212AM, SRM, L3 NT/LF, ML-18
PMs: Shure PSM 600, PSM 700; Sennheiser G2
Amps: Lab.gruppen
Mics (Hard-wired): Sennheiser MD-421, MKH-416;
Countryman DI; AKG C 414, C 460; Shure SM91, Beta52,Beta58A, SM98, SM57, SM58
Wireless Mics: Shure UR
Processing: Aphex 622; TC Electronic M5000, D-Two;
Summit DCL-200; Yamaha SPX990; dbx 160A
8
STEVE
JENNINGS
Soundco Clair
Crew
FOH Engineer: Gary Bradshaw
Monitor Engineers: Steve Lutely, Simon Hodge
System Engineer: Al Woods
Production Manager: Chris Vaughan
Tour Manager: Jaeki Hildisch
Techs: Tom Boothby, Baz Tymms, Adriaan Van Der Walt,
Phil Down, Pete McGlynn, Paul Carter, Damion Dyer,
Toby Donovan
Gear
FOH
Consoles: Digico SD7 (2)
Speakers: Martin Longbow
Amps: Martin Audio, Crown 12000i
Processing: Galileo, XTA
Power Distro: BuffaloRigging: Phil Broad
Breakout Assemblies: Veam
Snake Assemblies: Optocore
MON
Consoles: Digico SD7 (2)
Speakers/PMs: IEM, Sennheiser 2000 series
Mics: Sennheiser, Shure, AKG
7$.(7+$7
Soundco Capital Sound Hire
TTPHOTOS/COURTESYES
DEVLIN
%21-29,
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STEVEJENNINGS
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Crew
FOH Engineer: Trip Khalaf
Monitor Engineer: Ian Newton
System Engineer: Bob Weibel
Monitor Assistant Engineer: Kevin Kapler
Techs: Henry Fury, James Higgins, Matt Scoggins
Gear
FOH
Consoles: Midas XL4 (2), Yamaha PM5D
Speakers: Clair i-5, Clair i-5b, Clair FF-2, Clair BT-218,
Clair R-4 Series III
Amps: Crown
MON
Console: Digico SD7
Speakers: Clair 12amSeries II, Clair ML-18
PMs: Sennheiser EK 2000, Shure PSM-600 hardwires
Amps: Clair StakRak
Wireless Mics: Shure UR series
Crew
FOH Engineer: David Payne
Monitor Engineer: Andrea Vito
Carena
Systems Engineer: Vic Wagner
Monitors Tech: Greg Hancock
Crew Chief/Wireless Coordinator:
Matthew Bock
PA Techs: Joe Calabrese, Zachary
Mitchell
Gear
FOH
Console: DiGiCo SD7
Speakers: L-Acoustics K1, KUDO,
KARA
Amps: L-Acoustics LA8
Processing: System Processing:
Dolby-Lake Processors / FOH Out-
board FX/Dynamics: TC Electronics
D2, Avalon VT373, Drawmer 196
Power Distro: ProPowerBreakout/Snake Assemblies:
Entertainment Metals, FiberCo
MON
Console: DiGiCo SD7, Midas Venice
160
Speakers/PMs: Shure PSM900,
Shure P6HW
Amps: Crown I-Tech 12000HD
Processing: Focusrite Producer
Pack, BSS DPR901II
Mics: UHF-R Shure Beta 58C;
Audio-Technica AE series, ATM450;beyerdynamic M 88, Opus 88; Audix
D6, D4; Shure SM57, SM58, KSM32,
KSM141; AKG C 414
7$
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Crew
FOH Engineer: Tim Colvard
Monitor Engineer: Simon Kemp
Systems Engineer: Bjoern Seelander
Production Manager: Omar Abderrahman
Tour Manager: Jerome Crooks
Techs: Brian Thorene, David Vinnicombe, Jack Dunnett,
David Litchfield Klann
Gear
FOH
Console: DiGiCo SD7
Speakers: Meyer Sound MILO (80), 700-HP (40), UPA (8)
Processing: Meyer Sound Galileo
Power Distro: Major Tom
Rigging: CM Lodestar
Breakout/Snake Assemblies: Whirlwind
MON
Console: Avid VENUE Profile
Speakers: Meyer Sound MJF-212A (20), JM1P, 700-HP
PMs: Sennheiser EK 2000 IEMs
Mics: Shure UHF wireless, KSM-9; Neuman/AKG/Crown
86+(5
STEVEJENNINGS
Soundcos Major Tom/Thunder Audio
Crew
FOH Engineer: Horace Ward
Monitor Engineer: Ramon Morales
Systems Engineer: Tony Smith
Crew Chief: Dan Klocker
RF Tech: Bill Flugan
Techs: Jim Allen, Wayne Bacon, James Lamarca,
Kevin Szafraniec
Gear
FOH
Console: Avid VENUE Profile
Speakers: d&b audiotechnik J 8 (48), J12 (8), J-SUB (12), B2-
SUB (12), Q10 (8)
Amps: d&b audiotechnik D12
Processing: Waves
MON
Console: Digico SD7
Mics: Sennheiser RF & PMs
/$'
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$'9(57,6(56,1'(;
Company Page Phone http://
American Music&Sound
(A&H)
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HosaProducts 31 800.255.7527 foh.hotims.com/41481
ISP Technologies 40 248.673.7790 foh .hot ims. com/41481
JH Audio C1 866.485.9111 foh.hotims.com/41481
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Outline 5 516.249.0013 foh.hotims.com/41481
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Radial/Cabletek C3 604.942. 1001 foh .hot ims. com/41481
Riedel Communications 9,11, 13 49.0.202.292.90 foh.hotims.com/41481
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Shure 3 847.600.2000 foh.hotims.com/41481
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Sweetwater Sound 7 260.432.8176 foh .hot ims. com/41481
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Waves Audio Ltd. 29 011.972.36084113 foh.hotims.com/41481
Whirlwind Music 18,19 888.773.4396 foh.hotims.com/41481
YamahaCommercial 1 714.522.9011 foh.hotims.com/41481
MarketplaceCompany Page Phone http://
ArmandoCases 43 760.559.0909 foh.hotims.com/41481
AVForSale 43 4 04.355.6147 foh.hotims.com/41481
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Hitech AudioSystems 43 650.742.9166 foh.hotims.com/41481
In-EarSystems 43 618.345.0407 foh.hotims.com/41481
New YorkCase/HybridC as es 4 3 8 00 .6 45 .1707 foh.hotims.com/41481
ProProductionS ervi ces 4 3 602.437. 0221 foh .hot ims. com/41481
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Road Test
For local vendors, their citys DTV broadcast
ence posts remain the same and so can be saved
rom one project to the next, while new requen-
cies are chosen or each productions inventory,
opposite o the touring RF tech. House engineers
who work at a single venue have it easier, as both
RF environment and inventory stay constant,
other than supplemental wireless or bigger
shows or wireless brought in by visiting artists.
Whichever category youre in, Kaltman Cre-
ations Invisible Waves X system helps RF techs
manage wireless mics and IEMs better and more
eciently. The touring engineer can quickly ver-
iy constraints o the days new RF environment,
the local vendor can chose requencies without
guesswork, and in-house techs can easily trou-
ble-shoot new situations.
Several eatures are worth mentioning. UFO
Alert (Unidentifed Frequency Objects) warns
when a new RF signal appears above a defned
threshold (like a support act turning on wireless).
RF Level Alert warns when any RF signals on
the Master Status Displays sub-panels all be-
low a threshold (such as talent turning o their
transmitter or leaving the venue). Click to Listen
allows RF techs to actually hear a transmission
where IWxs cursor is located (providing con-
fdence monitoring or hearing assist systems
or just identiying rogue transmissions). Finally,
IWxs RF Coordinator identifes usable open
spectrum to aid in choosing requencies.
The system has a couple o shortcom-
ings. While its RF Coordinator can choose open
spectrum, it cant coordinate sets o wireless in
RF groups to avoid inter-modulation (IM). Us-
ing manuacturers pre-coordinated requency
groups is still the best insurance, or, or more
complicated wireless projects, multi-channel re-
quency coordination sotware, like Proessional
Wireless Systems (PWS) Intermodulation Analy-
sis Sotware (IAS).
That said, IWx is powerul, even when there
are no rogue transmissions, simply because its
constant visual aid helps RF techs do a better job
o employing best practices by continuously dis-
playing the RF environment.
At a Michael W. Smith show, the drummer
was getting dropouts on his IEMs, and I could see
that his requency was loud and clear with no in-
tererence near it. This logically led to ollowing
best practices o getting his G2 packs antenna
away rom his sweaty hip and replacing his trans-
mitters whip antenna with a paddle to increase
gain. Problem solved. Without IWx, a lot o time
might have been wasted looking or an alternate
requency that wasnt needed and wouldnt help.
Like a rear-view mirror, IWx doesnt make
better drivers, but by increasing awareness o
whats around, it helps avoid problems. Everyone
knows you should never have to use your spare
RF. For about the price o a spare RF unit, IWx can
help make sure o it.
Kaltman Creations Invisible Waves X Windows-based RF Spectrum Scannercontinued from page 33
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Waves CLA-2A Classic Compressor
On the Digital Edge
In previous columns, various Waves plugins
that I use on vocals, horns, violins, electric
guitars, bass guitars and drums have been
discussed. By now it should be apparent that I
like to use a lot o compressors. This current en-
try will ocus on my compressor o choice or theacoustic grand piano: the Waves CLA-2A Classic
Compressor.
The task o live mixing has many recurring
challenges, and one o the most dicult to ac-
complish successully is maintaining control
over the dynamics o each instrument without
sacrifcing the natural energy and expression o
the musicians. An engineer simply doesnt have
enough hands, fngers or the multitasking men-
tality to exercise constant vigilance over the all
the instruments in a 60-plus input show. It be-
comes necessary to employ electronic hands to
exert that control.
One Size DoesntFit All AJC
By defnition, correct application o com-
pression makes soter parts louder and louderparts soter, with the goal o making it easier to
hear and appreciate the characteristics o that
particular instrument or vocal in the mix. How-
ever, its never enough to just siton the dynam-
ics o an instrument. Thats the minimum asked
o a compressor plugin. I also choose plugins that
enhance the diering musical properties o each
instrument. I have yet to encounter a one size fts
allcompressor, so I always go through a trial and
error process or each input until I fnd the plugin
that properly marries itsel to the timbre and dy-
namics o an instrument.
On the James Taylor tour, we carry a beauti-
ul Yamaha C7 MIDI grand piano that is expertly
maintained and tuned by Mark Konrad, our key-
board tech. For obvious isolation reasons, the lid
is closed during perormances. However, closing
the lid creates a very dierent sound and pro-duces a radically dierent audio environment or
the transducers inside the piano. Mics must be
placed close to the strings, and this predictably
results in hot spots. Furthermore, reections are
coming rom everywhere in a closed box. The in-
struments inputs become harsher and less con-
nected.
The magic is to then reintegrate the whole
and somehow create the auditory illusion o
listening to a raised lid piano in a normal peror-
mance environment. Several tools can be used
to attack this audio conundrum. One invalu-
able tool has been the Earthworks PM40 piano
mic system. These remarkable small diaphragm
omni mics have revolutionized closed-lid miking
techniques. The engineers at Earthworks have
created a exible system that produces astound-
ing results within that less-than-optimum envi-ronment.
As noted, mic placement is critical and varies
with each piano. The two PM40 transducers are
mounted on a telescoping carbon graphite tube
allowing variable horizontal placement, both
mounted on 6-inch goosenecks or vertical ad-
justment. One can choose to orient the capsules
toward the hammer or toward the nose o the
piano. Placement choices become myriad, and
the only right way is the one that sounds best
right out o the box.
Wherever the mics end up being placed,
proper application o equalization will be nec-
essary to smooth out the hot spots created by
proximity to the strings. Its simply a necessary
evil dictated by the closed-lid condition. High-
pass flters, low-pass flters and parametric EQ
must all work in concert to massage the sound
back to a more natural, even distribution across
its 88 keys.
Subtle is Good AJC
Larry Goldings, our pianist on the James
Taylor tour, is an incredibly gited and expressive
musician, and it is never my intention to impose
needless dynamic restrictions on his playing. Tothat end, I chose a compressor that exerts very
subtle dynamic control and also enhances the
closed lid piano sound by its inclusion in the sig-
nal path.
The Waves CLA-2A Classic Compressor plu-
gin was modeled rom a legendary unit in the
enviable collection owned by Chris Lord-Alge.
The overview rom the user guide is helpul:
The CLA-2A is modeled on a hand-wired, tube-
based compressor originally produced by Teletronix
in the early 1960s. Intended or use in broadcast, the
original employed an electro-luminescent optical
attenuator or gain reduction called T4. Unlike
other designs, electro-luminescent circuitry doesnt
add distortion when it modulates the sound.
(Tubes, however, do, and Waves made sure to mod-
el that distortion.) Additionally, the inspiration orthe CLA-2As requency-dependent response made
it an instant avorite o audio engineers. However,
many consider its most unique eature to be its pro-
gram dependent, multi-stage release, which was
achieved using a 2-stage photo-electric cell. With
a Frequency Response o 30Hz to 15kHz (+/- 1dB)
and < 0.5% THD, the original provided up to 40dB
o gain limiting.
The tubesdo exactly what one expects in
the Waves CLA-2A emulation. The audio result
is a warmer, richer and denser sound that more
closely resembles the output o an open lid pia-
no. I set the compression threshold to just nip 2
to 3 dB o the loudest passages Larry plays. As I
said, I want Larry to create his own dynamics and
weave his parts in and out o the mix because o
the way James and the band have layer arrange-
ments. Instruments speak, then pull back and letanother voice be heard. Theres much movement
and texture woven into the tapestry created by
the mature, gited players in Jamesband.
The screen shot shows the setting on the
piano low mic on the PM40 system. There are
simply our user variable parameters. Begin with
unity gain and no compression, and then turn
up the gain reduction until you hear the desired
result. Add makeup gain to compensate or com-
pression and Viola! One caveat I must give to
those who have used old Teletronix units in the
past: Dont get ooled by the metering. Old units
still in use oten have a tired T4 unit inside them,
so 6 to 8 dB on its meter may translate to just 1 or
2 dB o actual compression. On Waves sotware,
however, what you see is what you get.
And what you get is a remarkably accurate
emulation o the classic original. Its not overlynoisy, operation is smooth, output is velvety, and
the compression characteristics lay gently on the
dynamics but leave the musical quality pristine.
Adding in the two other parameters allow the
user to urther enhance the audio result.
The Hum circuit is common to most o Waves
classic emulations and is included to more accu-
rately recreate the actual operating conditions
in which the original units were employed. Its a
simple push button control that lets you decide i
the signal is enhanced by adding 50 Hz (Europe)
or 60 Hz (USA) line hum to the signal. Dont like it?
Switch it to o. Youre the che.
The ourth parameter controls how the com-
pression circuitry responds to HF inormation.
Again quoting rom the user guide:
HiFreq increases voltage amplifer gain in the
peak reduction circuit, or requencies above 1 kHz,leaving lower requencies less aected. When set to
Flat, the CLA-2A provides equal reduction to all re-
quencies. The more you move away rom Flat, the
less sensitive the compressor is to lower requencies,
resulting in less low-end compression.
I dial this control down to increase the HF
crossover eect on the low mic. Greater com-
pression on the HF component o the signal lets
the let hand come through a little better with
more push at the bottom. It also allows me to
back o on some o its HF EQ bands.
Ive also employed this plugin on an acoustic
guitar that didnt produce enough bottom end
output. The CLA-2A produced equally pleasing
results. This is a good product and carries the
venerable LA-2A into the digital age with very
little compromise. The CLA-3A is also great ad-
dition to the Waves lineup and I will discuss this
solid-state brother to the CLA-2A next month.
Happy New Year!
David Morgan is a musician, songwriter and sound
engineer or James Taylor, Carole King, Joe Walsh
and other top artists. Reach him at dmorgan@o-
honline.com.
By DavidMorgan
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Happy New Year to all o you. By the time
you read this I will either have been to
the winter NAMM show or be on my way.
The reason I am mentioning NAMM (other than
the act that it takes place in January) is that I am
specifcally looking at architectural speakers thatcan be installed in a house o worship.
I you are not up to speed on todays column
speakers, I can tell you they are much improved
rom those o years ago. Many o you remember
(or have heard o) the Shure Vocal Master. Each
one o the columns incorporated our 8-inch
and two 10-inch speakers. I had a pair o those
column speakers in my frst band. However, by
the time I bought mine, they were very used and
well worn.
Anyway, beore I digress urther, let me just
state that modern column speakers can work
beautiully in a variety o house o worship set-
tings. Along with wide horizontal coverage andminimal vertical coverage above and below the
enclosure, they oer clarity in the vocal range.
And, o course, their narrow profle is ideal or
mounting on the walls or columns o your avor-
ite house o worship.
I your worship house is all about singing and
preaching, you may fnd that some inexpensive
column speakers can fll all o your needs. Should
you have bigger musical demands requiring
more dynamic range and greater bandwidth
(keyboards, acoustic guitar, etc.), you will want to
look or a 2-way design incorporating separate
high requency transducers.
Personally, I like the addition o a ribbondriver to my column speakers. A tall thin high
requency ribbon driver fts into the column
speaker design brilliantly especially when the
alternative is to try to mount a high-requency
horn into a narrow column box.
I am also a an o the sound o a good ribbon
driver. The highs always seem a little smoother
and less brittle than a high compression horn.
Another thing to keep in mind while you are
planning your column speaker installation is that
the longer the speaker column, the better your
bass perormance will be. A nine-oot column
can provide pattern control down to 125 Hz. O
course, you can always add a traditional sub-wooer to supplement a columns low requency
response.
Another advantage o using column speak-
ers is that you can provide lower volume and po-
tentially higher quality audio or your specifc au-
dience. Lets say you have a long, narrow house
o worship. Using six or eight column speakers
mounted at the appropriate interval, you can
bring the word (or music) right to the intended
listener.
(O course, you will have to consider place-
ment and audio delay times, but that is a subject
or another day.)
Beore you jump into a new set o column
speakers or your worship house, I suggest you
seek out and visit houses o worship that are al-
ready using this type o speaker. Once you havehad the opportunity to listen to some column
speakers, you can gain a better perspective
when it comes to purchasing and installing your
own speakers.
Personally, I have installed only a ew column
speakers in houses o worship. However, two
years ago, on a trip to Italy, I saw and listened to
column speakers in almost every major church
I visited (I think they are reerred to as basilicas).
The main basilicas in Florence, Pisa and Siena
(to mention a ew) all used column speakers to
reinorce their audio. The speakers were either
mounted on the walls o the churches or the
huge marble columns that support the basilica
ceilings. Speakers were mounted rom 6 to 7 eet
high at the bottom o the enclosure. In those
enormous, very reverberant spaces, column
speakers are the best way to get audio to theentire congregation at a low volume. And those
big churches are all about the word, prayers and
the occasional choral song. The reality is that you
just cant put a rockin worship band into a giant
marble basilica.
Whether you are in a big reverberant church
or a small house o worship, column speak-
ers can work together in tandem. A variety o
manuacturers design their columns enclosures
to couple together. In many cases, they actu-
ally bolt together so that two enclosures become
one column. I have seen instance where two
3-oot columns were coupled to create a 6-oot
box. (Remember, a 9-oot box enclosure will give
you bass control down to 125 Hz).
Architectural column speakers are easy on
the eyes and can become almost invisible once
they are installed. The narrow enclosures cancome in a variety o colors or can even be paint-
ed to match your house o worship colors. I feld-
tested a pair o K-array KR200 columns last year
that could not have been more than 3 inches
wide. Wherever I set them up, they literally disap-
peared into their surroundings. O course, I had
the advantage o some very powerul subs that
came along with the columns, but my point is
that the speaker enclosures just blend in because
o their narrow profle.
Lastly, i you already have a big FOH speaker
system in you worship house, columns can be
used to supplement that sound. In a big room,
columns can be placed urther rom the stage,
or even in another room, i needed. There are
so many possibilities with column speakers that
you should consider checking them out beore
you jump into your next install or addition.
Reach Jamie at [email protected].
Column Speakers
Sound Sanctuary
By JamieRio
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Wrong & Right
FOH-at-Large
There is no definitive way of set-
ting up gain structure and mix-ing a show but, after much time
and years of practice, we all learn the
right way to go about achieving our
desired results. While the art of mix-
ing may not be an exact science, there
are still many precise and defined rules
to which we need to adhere as we mas-
ter our craft and practice our art. The
rules that define right from wrong are
not only imperatives for mixing, but are
also the tenets that extend to every as-
pect of a given production.
Self-Evident Truths AJC
For the most part, these canons are
unwavering and do not leave much
room for speculation. It is wrong if oneshould need a minimum of 60 amps to
run their show and a venue can only
provide 20 amps of power. Its not right
if, when tying into an electric panel,
one should cross their ground and neu-
tral cables. It is wrong to expect input
signal to go to the speakers unless said
signal is assigned to an output chan-
nel that is sending to the speakers. Its
wrong to turn the channel input gain
up all the way while at the same time
boosting 2.5k and then trying to get
the channel fader to unity. It is wrong
to think that a 48-channel show can be
properly mixed on an 8-channel board.
What is right is mixing 10 stereo
ears on a console with 24 outputs. It is
wrong to think that this same feat canbe accomplished on a board with only
six outputs. It is wrong to mismatch
amplifier and speaker impedance, and
it is wrong to send square waves to the
speakers. Spilling beer into your con-
sole is wrong, and wrapping the micro-
phone cables between your elbow and
hand is also wrong. Loading in and set-
ting up the stage and lights before fly-
ing the audio rig is right. Bringing two
self-powered speakers on stands for a
full band in a shed is wrong, as is bring-
ing 16 over eight per side for a solo gui-
tarist in a living room. Attempting to fly
a 3,000-pound load with a half-ton mo-
tor is wrong. Flying the same load with
two one-ton motors is right. Using gaff
tape and tie line instead of span sets
and shackles is wrong.
All of the above are easy examples of
right and wrong. This is this, and noth-
ing more than basic physics. If a piece
of equipment runs on electrical energy
and there is no electricity, then that spe-
cific piece of gear will not function. Oil
wont work, coal wont help and neither
will a good whipping with a stick. There
are no gray areas involved with the op-eration of this piece of equipment, and
it is what it is: electricity is right and ev-
erything else is wrong. Its great when
you learn the rules, since you then know
where you are at all times. There are no
gray areas to confuse the matter; some-
thing is either right or it is wrong, and
if its right, it works, if its wrong all hell
breaks loose. These rights and wrongs
are concise and exacting as gravity and
are not open to discussion or debate.
There are no gray areas to compl icat e
matters and no soul searching required;
something is or it is not, period.
Getting Our Bearings AJC
I cite these examples of right and
wrong because it seems that, on a daily
basis, we are bombarded by the moral
turpitude of bankers, politicians, celeb-
rities, athletes and scammers from all
walks of life. It appears that we have
collectively lost our moral compass or,
better yet, there is some interference
and our moral compass cannot find true
North. Oh wait, this is the other right and
wrong, this is the right and wrong that
can be very messy and confusing witha profusion of debatable gray area. This
is the right and wrong that requires us,
as humans, to actually make a choice
between the two. This is the right and
wrong of ethics and morals.
Its easy to look at situations from a
distance, judging them and wondering
what the people involved were think-
ing at the time of their ethical and moral
failing, but it seems that the pattern be-
hind these failures is simply explained.
These pe ople were thinki ng abou t noth-
ing but themselves, and not the greatergood. From Wall Street to the hallowed
halls of our government, from religious
institutions to esteemed colleges, it ap-
pears that the moral and ethical fiber of
our society is disintegrating. Of course,
this is nothing new neither in the
history of mankind nor in the narration
of our society. We can cite examples of
immoral and unethical behavior from
every culture, but while its easy to be
an armchair moralist as we watch the
evening news we need to be aware of
our own challenges in our daily lives.
Decisions, Decisions AJC
If a client should hire an audio com-
pany for the cost of $5,000 and unwit-tingly overpay by $30, should the $30 be
refunded, or just absorbed into the cost
unless the client should notice? On the
outset, the question seems pretty cut
and dry, and the ethical thing to do is
refund the money. But what if the sound
company has a payment due for the loan
they took to finance the system, and this
just happens to be the first gig after a
long dry spell? What if the overpayment
to the audio company is $1,000? Does
that change the moral and ethical re-
sponsibility of the audio company?
What if your audio company is one
of three bidders on a big job and, just
before submitting the bid, you find out
that the other two companies have sub-
mitted similar bids? Do you lower yourbid substantially just to get the job? Can
you justify doing so by saying It is just
business? Meanwhile, you get the job
and find out that it will be an extremely
long and difficult event, but because
youve underbid on it, you dont really
want to pay too much money for labor.
Therefor e, do you tell the hands youve
hired the kind of difficulty they will be
facing, or, fearing that they might re-
fuse the gig for the money offered, do
you send them on the show without let-
ting them know what they might be up
against?
What Will YOU Do? AJC
At this point, Im not quite sure that
I have proven anything other than phys-ics is easier to master than ethics, but in
light of all the unethical behavior that
has been in the news of late and the fact
that we are now in the much ballyhooed
year 2012, it may be time to try honing
our ethical and moral abilities as well as
mastering our audio skills. Not that any
of us are unethical, Im just saying.
The correct way to reach Baker Lee is by
sending email to [email protected].
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