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ISSUE 33 October 2010 CONTENTS


> Regulars: Behind the Board 44 In Session 46 Products 48 People 51 Marketplace 52 Mixdown 58 > IN THIS ISSSUE


NEWS


API AWARDS WINNERS • 4 Final results revealed


QSC MIXERS • 4 Greg Mackie joins up for mixer development


SELENIUM • 5 Harman acquires loudspeaker brand


AVID PA • 6 New range of PA speakers debuted


EVENTS


PLASA • 15 All the hot news from this year’s big London show


IBC • 20 The full story from Europe’s big and busy Broadcast event.


LIVE SOUND/INSTALLATION


PROSONIC • 23 Cologne, Germany loudspeaker manufacturer and wireless specialist, dBTechnologies celebrates its 10th Anniversary with a seminar day and party in a brand new show room.


A-T MIC REVIEW • 24 Alphabeat’s engineer, Ben Booker tries out Audio Technica’s ribbon mics in various applications on tour with the band.


STUDIO/BROADCAST COVER FEATURE


SEAN RAMPTON • 26 Chase & Status’ FOH engineer talks about his many years on the road.


ACOUSTIC PRODUCTS • 32 A review of the latest in acoustic materials


STUART ROSLYN • 38 A chat with the busiest man in pro audio


EDITORIAL T


his has been one hell of a busy month. In addition to cumulating the final results for the second annual Audio Pro Industry Excellence Awards (page 11), a trip to Cologne for dBTechnologies ProSonic Event (page 23) the day before the PLASA 2010 show (page 15) kept


us quite busy. Especially when I arrived at Heathrow on the morning of the first day of PLASA and the Picadilly Line wasn’t running. Thanks TFL! I will leave the gory details of both events for you to read further on in the mag, but I will say that this industry has some great people and personalities. PLASA is always the best show for networking and catching up with old friends and making new ones. And the guys from dB were very welcoming and treated its visitors to classic German hospitality – and sausages. Aside from the shows and the mag, I mixed a few more live gigs this month. My favourite was at a small venue in London that only holds about 100 people. The ‘sound system’ comprised two monitors, one wedge and an eight-channel mixer, but it really made me appreciate the arduous role of the live sound engineer. Having come from a studio background, I always


sneered at live sound guys, thinking that their job was merely an exercise in setting up a few mics and, from my experience gigging, being the biggest wanker at the venue. Trying to get a good vocal sound, however, over the very loud and fast bands made me appreciate the idea that real talent and a thorough knowledge of the gear is essential for proper live sound mixing. I take my hat off to the guys who have to use a new board in a new venue every night. Further to that, dealing with the many weather elements thrown into the mix during outdoor festivals is another added and frustrating effect. No matter how perfect your mix is, there is no plugin or outboad that can eq wind off a festival field. A truly thankless job that, when done correctly, can make a show brilliant.


Andrew Low- Editor andrew.low@intentmedia.co.uk


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