Live audio pros can be a resourceful lot. They’re also willing to share the cool ideas they come across so that their fellow sound reinforcement pros can benefit from solutions that can make the next gig easier, knowing that they, in turn, will be able to benefit from the ideas shared by others. We came across a number of interesting solutions recently. The first is from FOH engineer Terry “TJ” Jackson, who credits Mo-Fi powered headphones from Blue Microphones for giving him a reference point he can rely on in a variety of large venues. Separately, we listened in on the discussions Pro Audio Space (proaudiospace.com) members were having about practical solutions to the seasonal challenges posed by wintry weather conditions. Enjoy!
Getting the Powered Headphone Boost
Veteran FOH engineer Terry “TJ” Jackson (Earth, Wind & Fire, Whitney Houston, Michael Jackson, Anita Baker) has embraced a powerful new live mixing tool that helps him meet the critical demands of mixing stadium concerts, such as the Philip Bailey performance at the 55,000-capacity Tokyo Dome. Like many engineers today, Jackson is responsible for a growing number of new tasks while out on the road.
With Mo-Fi powered headphones from Blue Microphones, Jackson now has the reliable reference he’s been looking for to tune P.A. systems and create consistent, great sounding mixes in any environment that translate from venue to venue anywhere in the world. This new headphone design incorporates 240 milliwatts of onboard amplification, combined with premium 50mm drivers and a high degree of isolation, even in noisy environments.
“Mixing stadium concert tours is challenging, and it’s important for me to have a reference point that I can rely on,” said Jackson. “Mo-Fi gives me a level of sound quality and consistency that I’ve never experienced before. I can’t do this without Mo-Fi. These are clean, warm, and strong with great dynamic range — whether I’m listening loud or soft.”
Jackson is frequently also asked to do mix work during his down time while on the road. “Mo-Fi has solved huge workflow problems for me. “I’m always mixing tracks on the road, and a reliable headphone reference gives me the sound quality and consistency I need to work wherever I am. I’m not even going to think about using near-fields — I am all about these headphones.”
Jackson adds, “Spatial timing and panning is extremely important to a good mix, and having a reference point is critical — especially for vocal and horn-focused bands like Earth, Wind & Fire. I can use Mo-Fi to create the live mix, then tune the sound system to sound like Mo-Fi. I can now mix FOH like I’m in the studio.”
Baby, It’s COLD Outside! Tricks for Winter Weather Gigs
Recently, we enjoyed some slick winter survival tips on FRONT of HOUSE’s own ProAudioSpace forum. Lately, with the weather being frightful, we thought we’d share a few bits of advice from our own forum participants. And if you’d like to get in on the fun, just go to proaudiospace.com and be part of our audio production community. But in the meantime, check these out…
Iced Cabling
A few years ago, I had cables freeze to the ground during a Christmas parade and tree lighting event. There was already a couple inches of snow on the ground, and when we were setting up, the cables melted/sunk into the snow some. The brief warm-up quickly changed to well below freezing, followed by freezing rain and sleet, sealing the cables in the snow with a nice crust of ice. I’ll put an electric heater in my cargo van if it’s packed overnight for a show the following day to help moderate the temperature a little and reduce condensation. In the winter I keep my equipment stored at about 50° F.
—Mike Caldwell
Cable Thaw
A reply from Canada: Our cables freeze solid and it is not even worth trying to wrap them when it is -30° F. We just throw them in the truck as is. Don’t even try to separate them. The next morning in the shop we straighten them out.
—Darrel Dixon
Clips and Coils
The sub-zero cold can be vicious on plastics. I switch to rubber mic clips in the winter, as I have a bag of shattered plastic ones. And I’ve had to struggle less with uncoiling frozen cables, thanks to the gentle aid of a heat-gun on hand. They’re good for more than just shrink-tubing! Otherwise, I just try and stick to indoor gigs when possible.
—Carl Welden
Above the Muck
Every year we do the Manhattan Irish Fest, about 45 miles southwest of Chicago in Manhattan, IL on the first weekend in March. It’s inside a tent with a few heaters, but still averages about 45° F. throughout the day — maybe. I should mention it’s on a gravel parking lot that’s usually frozen… until the tent goes over and thaws the ground and the gravel turns into a sloppy gray slurry! The FOH [cabling] run needs to “fly” to keep it above and out of the way from the mud slurry and several hundred actively-drinking “Irishmen.” Wedges, cables, subs, stands and anything else within shouting distance of the stage takes an extra day back at the shop to clean thoroughly, not to mention having to hose out the back of the truck from the muck. Such a good time in the middle of a Chicago winter. But they always have a more-than-adequate stout for the crew après party!
—Jim Richards
