CHESPEAKE, VA–Craft-Work Sound, Inc, of Chesapeake, Va, recently deployed their EV XLC line array rig for the 24th Annual Norfolk Jazz Festival, held in Town Point Park, Norfolk, VA, on August 4-6. This installment of the area's largest and longest-running Jazz fest included headline performances from the Guitar and Saxes Tour (featuring Gerald Albright, Richard Elliot, Jeff Golub and Peter White) and Brian Culbertson.
Read More »OLD BRIDGE, NJ–Consolidated Audio, a New Jersey-based pro audio sales and installation company, installed multiple SLS Loudspeakers in the sanctuary of Calvary Chapel located in Old Bridge, New Jersey.
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GREENSBORO, NC–When John Mellencamp tours, he does so in grand fashion. While Clair Brothers Systems handle the hardware for sound reinforcement, it's not uncommon to find WorxAudio Technologies' TL.218SS Sub Bass System filling in the bottom end.
Read More »LAS VEGAS–Reservations are now being accepted for the 2006 Parnelli awards, taking place this October 20 at the Venetian Hotel in Las Vegas, Nev. People wishing to attend can visit http://www.parnelliawards.com/reservations.php to reserve their space today.
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MCKEES ROCKS, PA–Steve Raslevich of Northern Sound and Light has begun a campaign to raise money to benefit Jim Sidney and Bonnie Patterson of Gourmet PA Systems in their fight against Bonnie's breast cancer. Bonnie, 46 years old, was diagnosed with breast cancer in June of this year. Even with medical insurance, the co-pays and non-covered medical costs have already exceeded $20,000.00.
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I am a small sound company owner and I also work as a volunteer on the sound crew at my church. My problem is that my church is planning an outdoor concert event and I have agreed to provide the production support for the show, with the understanding that I would be paid for my services. While attending a concert planning meeting, we were discussing all the different aspects of the event including some sponsorships that we plan to get from local businesses. At this point in the meeting, someone turns to me and says, "Hey, you could donate a thousand dollars as a sponsor and bring your equipment for free. You'll get your name on the back of the t-shirts we're having made." This put me in a very awkward position. While I generally do my part to support the church financially, I'm still trying to run a business and make a living here. I'd like to help, but I'm already thinking about my expenses on this show. What do you suggest in this situation?
Read More »What you hold in your hand is something pretty unusual for FOH–a themed issue. Most of what you will find between the covers of this month's collection of live audio missives relate in some way to the world of house of worship sound. Before you non-churchy road warriors run away screaming, don't worry, there is plenty for you here, too. That includes coverage of a decidedly un-churchy Ozzfest.
Read More »Gone are the days when sound reinforcement for house of worship applications meant a few podium-mounted mics, a wireless lav and an automated mixer. Church installs have grown to the level where they incorporate high-ticket digital desks, full band and choir miking and multiple monitor mixes routed from a dedicated monitor desk — often embarrassing club, theatre and even touring systems. Many churches have started the practice of making audio and video recordings of their services in an effort to preserve their message while simultaneously finding a new stream of revenue.
Read More »Do you go to church? How about a synagogue, Buddhist temple or mosque? Well, if you are in the business of mixing or installing live sound you should be at a house of worship regularly. Let me clarify myself. I am not suggesting that we in the live sound biz are bigger sinners than the rest of the population, I just want to make the point that if you are not involved in church sound at some level you are missing out on a potentially enormous income stream. Don't believe me? Are you sure you read the rest of this magazine?
Read More »Why in Heaven's name would anyone want to spend huge amounts of weekly tithing to install a State of the Art (SOTA) sound system into a house of worship? Better yet, why on earth would any house of worship deem it necessary to get into the sound reinforcement/concert business? Is it all just pomp and circumstance, a vanity stemmed from coveting a neighboring congregation's techno wizardry, or is there a higher purpose?
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For anyone who thinks a church sound department means a Mackie mixer with two knobs missing, four pockmarked SM58s, two Samson wireless mics and a 17- year-old volunteer, Lakewood Church in Houston may be something of a revelation.
Supporting the theory that everything's bigger in Texas, Lakewood is a 16,000 seat arena-sized facility whose list of gear, musicians and crew reads like an attempt at a Guinness Book entry: 11 piece band, 200- voice choir, four Nuendo rigs recording 135 tracks of audio, four Euphonix consoles and five full-time sound crew professionals, all under the supervision of one Reed Hall, director of audio and technical production.
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What room is so large that a 350- voice choir: is so far from the podium they can't hear the conductor; is 45 feet back and 12 feet above the orchestra; can't hear the orchestra (and vice versa); sings directly in front of a pipe organ whose ranks and pipes can overpower a room with seating for 21,000?
If you said the Conference Center of The Church of Jesus Christ of Latter-Day Saints then you are correct!
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