Having just come back from the Los Angeles AES and PLASA London expos (and getting ready to head off to the LDI show and the Parnelli Awards), I can surely empathize with all the “living out of a suitcase” road warriors out there. And a few days back home gives me a little time to catch up on actually putting out the magazine and reflect on where the industry’s headed.
In many ways, the recent AES show reflects a microcosm of the pro audio industry. If there was a single barometer on the state of the pro audio business, it would surely reflect the fact that the sound reinforcement side is up, up, up. And this is demonstrated in every aspect of live audio, from new installations, live performances, system upgrades, rentals, house of worship and even the band/M.I. side.
AES Goes Wild
Just walking the show floor at AES, the action in terms of recording consoles was light, with the one highlight being Solid State Logic’s XL-Desk analog 24 x 8 board that represents that company’s “entry level” in the studio mixer department. Meanwhile, the list of sound reinforcement consoles making their AES debut was impressive. These ranged from SSL’s new Live L300 (a lower-cost entry that expands its successful Live Series which debuted a year ago); Lawo’s long-awaited built-for-live mc²36; the Avid VENUE | S3L-X; and PreSonus’ StudioLive RM-series rackmount digital mixers in 32 and 16 channel versions. Meanwhile, major software upgrades were being shown for the SSL Live, Avid VENUE, DiGiCo’s SD series, Yamaha’s CL/QL line and (at the Plaza show), where Cadac demoed the v2.3 software update for its CDC console line.
If this wasn’t enough, the action didn’t stop at AES, as in the weeks after the show, new digital consoles for live audio were launched by Mackie (see the review of its DL32R), BBE’s MP24M (its first entry into the foray of digital consoles) and the Roland M-5000 — a 128 audio pathway design that has generated substantial interest since its early-November kickoff (see details).
Somehow, I don’t think that all this action simply comes out of nowhere. Each of these launches are based on demographic research into audio users — or at least a reaction to market trends — and all seem to indicate that the live biz is healthy and growing. Even outside of the “nuts and bolts” pro user market, you don’t have to be a genius to figure out that Spotify will NOT be a major contributor towards any musician or band’s early retirement. In fact, in terms of recording sales, an increasing number of artists have parlayed their latest releases — whether on CD’s, download cards or MP3-filled memory sticks — into promotional giveaways that are included with live show ticket sales, or bundled with “VIP packs” that may also toss in a pre-show “meet the artist” event.
With that, the industry has truly come full circle from the good old days (when the label dipped into its substantial cash reserves and pumped record sales by supporting a tour) to the recording becoming a promotional hook to spur live sales. Yet either way, the live industry remains the healthy recipient while the recorded product is either reduced to swag or merely another incentive to spend at the merch table.
It’s no surprise that the production side is also affected by the surge in new approaches and technologies. This month’s cover story focuses on the recent Tom Petty tour, where sound company Sound Image took a leap of faith, investing in EAW’s new Anya Adaptive Performance array rig, which had never been out on a major tour. In this month’s Production Profile interview, noted FOH engineer Robert Scovill — now in his 20th year of mixing Petty — talks about the experience of using the system in a variety of venues, ranging from festivals and arenas, as well as Boston’s Fenway Park and the ever-challenging Red Rocks Amphitheatre. No spoilers here — you’ll have to click here for the startling conclusion.
Some Sad News
It is with a heavy heart that we in the FRONT of HOUSE/PLSN family report on the passing of industry legend Patrick Stansfield, who not only had a long career in the tough job as the tour manager for Neil Diamond, the Rolling Stones, Barbra Streisand, Bob Dylan, George Harrison, the Grateful Dead, Santana, Tina Turner and scores of others, but was also a co-founder of the Parnelli Awards. On page 38, our senior writer Kevin M. Mitchell reflects on Stansfield’s amazing career. Rest in peace, old friend.
On a positive note, if you’re in Las Vegas later this month, stop by and see us at the LDI Show, booth #1175 — or better yet, snag a ticket or two for the Parnelli Awards, held November 22, witness a bit of history, kick back and chill out. See you there!
Catch George’s editorial commentary at www.fohonline.com/foh-tv.
